链接：https://schedule.gdconf.com/session/animation-roundtables-day-1/907541
作者：Euna Park (Gameplay Animator, That's No Moon)、Shayna Moon (Technical Producer , Sanzaru Games)
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: 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 workflow frustrations have been experienced and how were they resolved? 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 prepared (or jump-started!) in their animation careers.
动画圆桌会议旨在将所有学科汇聚在一起，共同致力于一个目标——如何最好地在游戏开发中实施和改进动画领域。以下问题将是讨论的重点：在游戏中应该由谁来指导动画？导出后动画管线的每个部分分别归谁所有？各个学科如何更好地协同工作，以实现最佳视觉效果和感觉的动画？在工作流程中遇到过哪些挫折，又是如何解决的？有哪些新技术可供动画师使用以提升他们的工作表现，这些技术又会带来哪些挑战？你认为大家必须了解的最佳技巧或窍门是什么？你在工作中犯过的错误中，有哪些是其他人可以从中学习的？我们如何能够更好地从各个学科中给予和接受反馈？此外，为了帮助新进入该领域的人员，每场会议的最后部分都将专门针对他们，鼓励提问以帮助他们在动画职业生涯中做好准备（或快速起步！）。
链接：https://schedule.gdconf.com/session/animation-roundtables-day-2/911317
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: 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 workflow frustrations have been experienced and how were they resolved? 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 prepared (or jump-started!) in their animation careers.
动画圆桌会议旨在将所有学科聚集在一起，共同致力于一个目标——如何最好地实施和改进游戏开发中的动画领域。以下问题将是讨论的重点：在游戏中应该由谁来指导动画？导出后动画管线的每一部分分别归谁所有？各学科如何更好地协同工作，以实现游戏中最佳视觉效果和感受的动画？在工作流程中遇到过哪些挫折，又是如何解决的？有哪些新技术可供动画师使用以提升他们的工作效率，这些技术又会带来哪些挑战？你认为大家必须了解的最佳技巧或窍门是什么？你认为他人可以从你的哪些错误中学到经验？我们如何才能从各个学科中更好地给予和接受反馈？此外，为了帮助新手，在每次会议的最后部分将专门针对他们进行讨论，鼓励他们提问以帮助他们在动画职业生涯中做好准备（或快速起步！）。
链接：https://schedule.gdconf.com/session/animation-roundtables-day-3/911318
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: 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 workflow frustrations have been experienced and how were they resolved? 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 prepared (or jump-started!) in their animation careers.
动画圆桌会议旨在将所有学科汇聚在一起，共同致力于一个目标——如何最好地在游戏开发中实施和改进动画领域。以下问题将是讨论的重点：游戏中动画应由谁来指导？导出后动画管线的每一部分分别归谁所有？各学科如何更好地协同工作，以呈现最佳视觉效果和感受的动画？在工作流程中遇到过哪些挫折，又是如何解决的？有哪些新技术可供动画师使用以提升他们的工作，这些技术又会带来哪些挑战？你认为大家必须了解的最佳技巧或窍门是什么？你在工作中犯过的错误，哪些是其他人可以从中学习的？我们如何能更好地从各个学科中给予和接受反馈？此外，为了帮助新进入该领域的人员，每次会议的最后一部分将专门用于回答他们的问题，鼓励提问以帮助他们在动画职业生涯中做好准备（或快速启动！）。
作者：Meghdad Asadilari (Assistant Professor, Rochester Institute of Technology)
Rigging in real-time pipelines is gaining popularity, but 2D rigging has largely been overlooked by artists working within Unreal's rigging workflow. This talk introduces 2D character rigging and low cost motion capture techniques in Unreal.
In addition to exploring traditional 2D keyframe animation, a simple motion tracking workflow is presented, enabling real-time animation of a 2D character. Unlike conventional tracking workflows, this novel approach demonstrates how trackers can control IK limbs, emphasizing the feasibility and stability of animating a full 2D character using five trackers.
Additionally, 2D Drawing Replacements are introduced to mimic morph targets in 3D, allowing changing the drawing of body parts or facial features. In this setup, facial capture devices switch 2D drawing replacements to activate 2D facial expressions. Additional features demonstrate adjusting motion capture sensitivity and resetting the default pose to enhance performance flexibility, and allow live performers' movements to be mapped to unconventional default poses for the 2D character.
实时管线中的绑定越来越受欢迎，但在使用虚幻引擎绑定工作流的艺术家们大多忽视了2D绑定。本次演讲介绍了虚幻引擎中的2D角色绑定和低成本动作捕捉技术。
除了探索传统的2D关键帧动画外，还介绍了一个简单的运动跟踪工作流程，使2D角色能够实现实时动画。与传统的跟踪工作流程不同，这种方法展示了如何使用追踪器来控制IK肢体，强调了使用五个追踪器实现完整2D角色动画的可行性和稳定性。
此外，还介绍了2D绘制替换技术，以模拟3D中的形态目标，允许改变身体部位或面部特征的绘制。在这个设置中，面部捕捉设备切换2D绘制替换来激活2D面部表情。其他功能展示了调整动作捕捉灵敏度和重置默认姿势以增强性能灵活性，并允许现场表演者的动作映射到2D角色的非传统默认姿势。
作者：Chandrahas Tanguturi (Animator, Firaxis Games)、Rue Taylor (Narrative Designer, Firaxis Games)、Keenan Nishi-Manely (Diplomacy Art Lead, Firaxis Games)
Leaders have always been a core element of the Civilization series. They are the faces of history who engage with, and react to, the stories players create as they build new empires one turn at a time.
In this session, an interdisciplinary panel will walk through the process of animating leaders for Sid Meier's Civilization VII, using the Shawnee leader Tecumseh as a case study. We will discuss processes and methods of interdepartmental collaboration that successfully guided us from concept to completion, as well as Firaxis' partnership with the Shawnee Tribe that was critical to bringing the historical figure of Tecumseh to life.
领导者一直是文明系列游戏的核心元素。他们是历史的面孔，与玩家创造的故事互动，并对这些故事做出反应，玩家通过一步步构建新的帝国来创造这些故事。
在本次会议中，一个跨学科的小组将通过展示席德·梅尔的文明VII中动画化领导者的过程，以肖肖尼族领导者特库姆塞为例进行深入探讨。我们将讨论各部门之间成功协作的过程和方法，从概念到完成的整个过程，以及费加克斯公司与肖肖尼部落的合作，这对于让历史人物特库姆塞生动呈现至关重要。
链接：https://schedule.gdconf.com/session/animation-summit-bones-and-booleans-microtalks/908073
作者：Frank Gordon (Realization Lead, That's No Moon)、Max Gariepy (Senior Technical Animation Designer, That's No Moon)
Welcome to the second season of Bones & Booleans! We have gathered experts from around the industry to talk about Motion Matching & it's applications - expect to see several short microtalks going into some details of the technical or practical applications of MM, followed by an extended Q&A with the panelists answering questions gathered from the animation community of GDC 2025 & from an open form published earlier.
Perhaps the d20 will also make an appearance...
欢迎来到《骨骼与布尔值》第二季！我们汇集了来自各行各业的专家，讨论运动匹配及其应用——敬请期待几场深入探讨运动匹配技术或实际应用细节的微型讲座，随后是与小组成员的延长问答环节。这些问题是由2025年游戏开发者大会（GDC 2025）的动画社区以及之前发布的一个公开表格收集而来的。
或许d20也会出场……
作者：Hector Antunez (Animation Director, Bit Reactor)
In game development, assembling a top-notch animation team is both a challenge and an art in itself. Hector Antunez, Animation Director at Bit Reactor, will share his insights and experiences on the journey of creating and leading a high-functioning game animation team. Drawing from his personal experiences, Hector will expand on the nuance and complexities of hiring for animation roles in game development.
在游戏开发中，组建一支顶尖的动画团队既是一种挑战也是一种艺术。比特雷克托尔的动画总监赫克特·安图内兹将分享他在创建和领导高效的游戏动画团队过程中的见解和经验。基于个人经历，赫克特将详细阐述游戏开发中招聘动画角色时的细微差别和复杂性。
作者：Vincent Schneider (Associate Animation Director, Compulsion Games)、Remi Edmond (Lead Technical Animator, Compulsion Games)、Sebastien Dussault (Cinematic Director, Agora Studio)、Mike Jungbluth (Animation Director, Compulsion Games)
South of Midnight immediately captures people's attention with its southern gothic art style realized through the lens of stop motion visuals. This talk will have members of the animation and cutscene team break down how those visuals and performances were realized across gameplay and cutscenes, using an intentional blend of both art and tech.
《午夜之南》（South of Midnight）立即以其南方哥特式艺术风格吸引了人们的注意力，这种风格通过定格动画视觉效果呈现出来。本次演讲将由动画和过场动画团队的成员拆解这些视觉效果和表演是如何在游戏中和过场动画中实现的，使用了一种有意结合艺术和技术的方法。
链接：https://schedule.gdconf.com/session/arranger-a-conventions-breaking-art-direction/907330
作者：David Hellman (Lead Artist & Co-Director, Furniture & Mattress)
Arranger: A Role-Puzzling Adventure employs a unique presentation format, with large comic panels hovering in parallax depth behind the play field. How did this come about? As an invention of necessity, after a dalliance with 2.5-D and subsequent retreat had left art direction bereft and adrift. In this talk, David will explain how crisis spurred him to invent a new presentation mode that greatly lowered the spec for art production, greatly increased novelty, opened new storytelling avenues, and solidified the game's visual identity. He'll explain how breaking conventions (for example, common expectations for depicting physical space in a game) also required the careful creation of new conventions, so this strange new format would appear coherent to players. In short, it's a tale of art director as Arranger: throwing the old order into chaos with an abiding faith that a new, better world is possible.
编排者：一款角色解谜冒险游戏采用了独特的呈现格式，在游戏区域后方以视差深度展示大型漫画面板。这种设计是如何产生的？这是出于必要性的发明，在尝试了2.5D风格并随后撤回后，艺术指导显得匮乏且迷茫。在这次演讲中，David将会解释危机如何促使他发明了一种新的呈现模式，这大大降低了美术制作的要求，极大地增加了新颖性，开辟了新的叙事途径，并巩固了游戏的视觉风格。他还将解释打破常规（例如，对游戏中物理空间表现的常见预期）也需要精心创造新的规则，从而使这种奇怪的新格式对玩家而言显得连贯。简而言之，这是一个关于艺术指导作为编排者的传奇故事：通过坚定的信念，颠覆旧秩序，创造出一个全新的、更好的世界。
链接：https://schedule.gdconf.com/session/art-directing-a-cultural-joyride-through-modern-india/907054
作者：Shalin Shodhan (Director, Masala Games)
Eighteen percent of the world lives in India, yet it is largely absent from gaming culture. The team behind Detective Dotson, an Indian studio, tackles the challenge of authentically representing modern India in an adventure game. This talk delves into how they overcame the challenges of building content entirely new to the medium. It is a deep dive into a unique art pipeline that mixes pixel characters with 3D environments. The talk shares insights about breaking away from visual stereotypes we have imbibed as artists and highlights the value of honest representation. Attendees will gain practical insights into creating content in underrepresented spaces and learn how thoughtful art direction can make a game stand out in a crowded marketplace. The talk ultimately inspires the audience to build worlds that they are uniquely positioned to represent - an approach that is not just artistically rewarding but also a strong business strategy.
世界上百分之十八的人口生活在印度，然而印度在游戏文化中却很大程度上被忽视了。由印度工作室Behind Detective Dotson团队负责，他们致力于在冒险游戏中真实地展现现代印度的挑战。这次演讲深入探讨了他们如何克服为这种媒介全新构建内容的挑战。这是一次深入探讨独特艺术流程的机会，该流程结合了像素角色与3D环境。演讲分享了关于作为艺术家打破我们已吸收的视觉刻板印象的见解，并强调了诚实表现的价值。与会者将获得在代表性不足的空间中创建内容的实际见解，并了解深思熟虑的艺术指导如何使游戏在拥挤的市场中脱颖而出。演讲最终激励观众建立他们独特能够代表的世界——这种方法不仅在艺术上具有回报，也是一种强大的商业策略。
作者：Tatu Petersen-Jessen (Senior Art Director, Rovio Entertainment)
This lecture explores Rovio Entertainment's use of Generative AI in art production pipelines, focusing on Angry Birds Dream Blast. How can you produce hundreds of high-quality illustrations a day without sacrificing the brand's promise? The session covers the technical implementation, challenges, and benefits of AI integration while emphasizing ethical considerations and brand impact. Key topics include safeguarding intellectual property, maintaining brand integrity, and balancing AI's unpredictability with precise creative control of traditional workflows. Examples from Angry Birds Dream Blast show how AI is used for background creation, but not for any core brand elements like characters. The lecture explains the reasons for this and highlights that while AI brings many changes, core storytelling and brand integrity remain crucial. It also aims to correct misconceptions about AI and offer guidance on adapting to this evolving technology.
本讲座探讨了Rovio Entertainment在艺术生产流程中使用生成式人工智能（Generative AI）的情况，重点关注《愤怒的小鸟梦境冲刺》（Angry Birds Dream Blast）。如何在不牺牲品牌承诺的前提下，每天产出数百幅高质量插图？本次会议涵盖了AI技术的实施、挑战和益处，并强调了伦理考量和品牌影响。关键议题包括保护知识产权、保持品牌完整性以及平衡AI的不可预测性与传统工作流程中的精确创意控制。来自《愤怒的小鸟梦境冲刺》的例子展示了AI如何用于背景创作，但不涉及任何核心品牌元素如角色。讲座解释了这样做的原因，并强调尽管AI带来了许多变化，但核心叙事和品牌完整性仍然是至关重要的。讲座还旨在纠正关于AI的误解，并提供适应这一不断发展的技术的指导。
作者：James Charlick (Lead Artist, Studio Gobo)、Rich Court (Principal Artist, Studio Gobo)
LEGO Horizon Adventures is a new LEGO game set in a brick-built world inspired by Guerrilla's critically acclaimed title Horizon Zero Dawn. In this talk, James Charlick (Lead artist at Studio Gobo) and Richard Court (Principal Artist at Studio Gobo) will talk about trying to push the boundaries and achieve a new benchmark not previously seen in LEGO titles. We will discuss how the team at Studio Gobo took on the challenge of making a world entirely out of LEGO bricks including terrain, buildings, rocks, foliage, clouds and even VFX! The talk will cover our approach, the artistic choices we made as well as mistakes and learnings that enabled us to deliver on our vision. We'll cover how we defined the style of the world, and theming of the various regions, and give an overview of the artist friendly pipeline and tools that we built enabling us to achieve our goals.
LEGO Horizon Adventures 是一款新的乐高游戏，设定在一个由积木构建的世界中，这个世界灵感来源于Guerrilla Games的获奖作品《地平线零之曙光》。在这次演讲中，James Charlick（Studio Gobo首席艺术家）和Richard Court（Studio Gobo首席艺术家）将讨论他们如何尝试突破界限，达到乐高系列游戏中前所未有的新标准。我们将讨论Studio Gobo团队是如何接受挑战，创造出一个完全由乐高积木构成的世界，包括地形、建筑、岩石、植被、云彩甚至视觉特效！演讲将涵盖我们的方法、所做的艺术选择以及所犯的错误和学到的经验，这些使我们能够实现愿景。我们将介绍如何定义世界风格以及各个区域的主题，并概述我们创建的艺术家友好型流程和工具，这些使我们能够实现目标。
作者：Andrew Silver (Senior Art Director, Wild Blue Studios)
In the wake of massive layoffs across the industry, game studios are under pressure to meet ever increasing content demands with fewer internal resources. This has led to an increased load on art directors managing larger groups of external partners, and more artists and producers thrust into feedback owning roles without training. This practical talk walks art directors through the best ways to create emotionally impactful products when working with external partners regardless of internal team size. 2D pipelines are used as examples in the talk, but the content will be usable across any product.
在全行业大规模裁员之后，游戏工作室面临着在资源内部化减少的情况下满足不断增长的内容需求的压力。这导致艺术总监管理的外部合作伙伴群体增多，更多的艺术家和制作人被推入需要承担反馈责任的角色而没有接受过相关培训。本次实用演讲将指导艺术总监们，在与外部合作伙伴合作时，无论内部团队规模如何，都能找到最佳方法来创造具有情感冲击力的产品。演讲中以2D流程为例，但内容将适用于任何类型的产品。
作者：Sebastien Primeau (Art Director, Yellow Brick Games)
After two decades in a leading AAA studio, the time came for a change—an opportunity to step outside the comfort zone and face new challenges in the world of indie game development. In this session, Sebastien, Art Director at Yellow Brick Games, shares his experiences transitioning from managing large teams and big budgets to navigating the constraints of independent production. He'll explore the creative processes, cultural shifts, and the surprising benefits of limited resources, which forced tough decisions but unlocked new opportunities.
Join Sebastien as he delves into the art direction of Eternal Strands, discuss the evolution of my mindset, and share insights on building trust, managing external teams, and embracing the challenges of indie development.
在一家顶级AAA工作室工作了二十年后，是时候做出改变了——一个走出舒适区、面对独立游戏开发新挑战的机会。在这次分享中，Yellow Brick Games的艺术总监Sebastien将分享他从管理大型团队和大预算过渡到应对独立制作限制的经历。他将探讨创意过程、文化转变以及有限资源带来的意外好处，这些限制虽然迫使他做出艰难决策，但也解锁了新的机会。
加入Sebastien，深入了解《Eternal Strands》的艺术指导，讨论我的心态演变，并分享建立信任、管理外部团队以及拥抱独立开发挑战的见解。
链接：https://schedule.gdconf.com/session/art-leadership-roundtable-day-1/910875
作者：Keith Self-Ballard (Senior Manager of Creative, PlayStation Studios)
The art leadership roundtable is an open discussion forum for topics concerning the leadership of creative teams. All attendees are welcome to learn from industry veterans as we all seek to navigate the ubiquitous challenges of inspiring teams to their best work, while navigating both change and uncertainty. Come to listen. Come to share. Join us as we learn from each other and build better creative cultures.
艺术领导圆桌会议是一个开放的讨论论坛，旨在探讨有关创意团队领导的话题。所有参会者都欢迎向行业资深人士学习，因为我们都在努力应对激励团队发挥最佳表现的同时，还要应对变化和不确定性的普遍挑战。来倾听吧，来分享吧。加入我们，通过互相学习来建立更好的创意文化。
链接：https://schedule.gdconf.com/session/art-leadership-roundtable-day-2/911319
作者：Keith Self-Ballard (Senior Manager of Creative, PlayStation Studios)
The art leadership roundtable is an open discussion forum for topics concerning the leadership of creative teams. All attendees are welcome to learn from industry veterans as we all seek to navigate the ubiquitous challenges of inspiring teams to their best work, while navigating both change and uncertainty. Come to listen. Come to share. Join us as we learn from each other and build better creative cultures.
艺术领导圆桌会议是一个开放的讨论论坛，针对有关创意团队领导的话题。所有参会者都欢迎向行业资深人士学习，因为我们都在努力应对激励团队发挥最佳表现的同时，还要应对变革和不确定性的普遍挑战。来聆听吧，来分享吧。加入我们，从彼此身上学习并共同构建更好的创意文化。
作者：Rus Scammell (Product Manager 2D, Unity, Unity)
Bringing your 2D game art direction to life is exciting—but it can also be labor-intensive. In this session, we'll explore creative workflows and techniques to help you streamline your 2D production pipelines. Topics include pixel art authoring, performance optimization, 2D physics workflows, and advanced customization capabilities. Plus, we'll share an exclusive sneak peek at in-progress Unity advancements for 2D game development. Join Rus Scammell, Unity's Product Manager for 2D, as he guides you through tools, workflows, and tips to make your 2D games more efficient and visually compelling.
将你的2D游戏艺术方向变为现实是令人兴奋的——但这也会非常耗费精力。在这次讲座中，我们将探索创造性的工作流程和技术，以帮助你简化2D生产管线。主题包括像素艺术创作、性能优化、2D物理工作流程以及高级定制功能。此外，我们还将分享一个关于Unity正在进行的2D游戏开发改进的独家预览。加入Rus Scammell，Unity的2D产品经理，他将引导你了解工具、工作流程和技巧，使你的2D游戏更高效且视觉上更具吸引力。
作者：Dean Scott (Environment Artist, Firaxis Games)
This presentation details the artistic problem-solving process employed in creating the natural environment of Civilization 7. Dean Scott (Environment Artist) will go into detail of how he used procedural content generation in combination with more traditional game-art practices to create a tactile and lived-in world while working within a very small team. He will look at authoring art with Houdini, talk about some of the processes used to generate assets while maintaining the look and feel of the Civilization franchise, and show how prototyping procedurally enabled our team to polish the game into what it is today. He will talk about how making foliage doesn't have to be painful and work through some of the problems we faced when making art for a world that is ever-changing and emergent every time you end your turn.
本演示详细介绍了在《文明7》自然环境创作过程中采用的艺术问题解决流程。Dean Scott（环境艺术家）将深入讲解他如何结合使用程序内容生成与更为传统的游戏艺术实践，在非常小的团队规模下创造出具有触感且充满生活气息的世界。他将探讨使用Houdini创作艺术的过程，讨论在保持《文明》系列风格和感觉的同时用于生成资源的一些方法，并展示如何通过程序化原型制作使我们的团队能够将游戏打磨至今日的状态。他还将讨论制作植被不必痛苦，并将分析我们在为一个每次结束回合都会不断变化和涌现的世界创作艺术时所面临的一些问题。
链接：https://schedule.gdconf.com/session/capturing-game-history-bits-by-bits/907419
作者：Audun Sorlie (Producer, Limited Run Games)、John Linneman (Producer, Digital Foundry)、Mike Chi (Engineer, RetroTINK LLC)、Mike Mika (Head of Studio, Digital Eclipse)、Dimitris Giannakis (Lead Programmer, Limited Run Games)
Classic video games are a dying art. Not just through output or industry challenges, but due to how we play and present games for the future generations. Across Youtube channels and development circles, retro enthusiasts have tirelessly been working to create technical solutions, develop stories and uncover the lost arts from the past to educate the future. What is the right way to showcase a retro game? How do you research software no longer available for public consumption? How do we capture the gameplay to most accurately represent the game in context? Where do we find the stories across the geographical borders of the video game history, and how can developers creating games now make use of this research to enhance their own presentation today? Through this panel, several pivotal documentarians, developers and enthusiasts discuss how they envision the perfect presentation today, and how to improve it for tomorrow.
经典视频游戏是一种正在消逝的艺术。这种现象不仅源于产量或行业挑战，还因为我们在未来几代人中如何游玩和展示这些游戏的方式。在YouTube频道和开发圈内，复古爱好者们不遗余力地工作，以创造技术解决方案，开发故事，并揭示过去的失落艺术，以此来教育未来的人。如何正确展示一款复古游戏？如何研究那些不再面向公众发布的软件？我们如何捕捉游戏玩法，以便最准确地在上下文中展现游戏？我们如何跨越电子游戏历史的地理边界找到这些故事，现在的开发者又如何利用这些研究来提升他们今天的游戏展示呢？通过这次讨论会，几位关键的纪录片制作者、开发者和爱好者将探讨他们对未来完美展示的设想，以及如何为明天改进这一展示方式。
链接：https://schedule.gdconf.com/session/cosplay-as-a-game-artist/906829
作者：Hannah Mackintosh (Artist, Cerebralfix)
Are you looking for ways to add more world building and context to your characters and games? Well, look no further than talking to a Cosplayer to get the inside scoop on how your current designs hold up when translated into the physical space. This talk will go over how learning about clothing and picking up cosplay can improve your own character designs and worldbuilding, cross industry skills, and what cosplayers want artists to know about our craft.
你是否在寻找增加角色和游戏世界构建及背景的方法？那么，无需再寻找，与Coser（角色扮演者）交谈就可以深入了解你当前的设计在转化为实体空间时的表现。本次演讲将介绍学习服装知识和掌握角色扮演如何改进你自己的角色设计和世界观构建，跨行业技能，以及Coser希望艺术家了解关于我们手艺的内容。
作者：Hugh Chew (Senior Material Artist, Playstation Studios Visual Arts)、Javier Perez (Lead Material Artist, Playstation Studios Visual Arts)、Trevor Cotich (Materials Specialist, Digital Extremes)、Martin Pietras (Senior Texture Artist, Bethesda Game Studio)、Kurt Kupser (Lead Environment Biome Artist, That's No Moon)
In the ever-evolving landscape of game development, materials and texturing play a pivotal role in creating immersive and visually stunning experiences. Overtime they have become their own discipline that studios are crafting core teams devoted to supporting and establishing libraries, tools and general support for the rest of the art team. As technology advances and industry standards shift, material artists must navigate a complex array of tools, techniques, and trends. This panel aims to explore the multifaceted nature of materials and texturing in the current game industry, with a focus on the essential skills, emerging trends, and personal experiences of seasoned professionals.
在不断发展的游戏开发领域中，材质和贴图在创造沉浸式且视觉效果惊人的体验方面扮演着至关重要的角色。随着时间的推移，它们已经成为一个独立的学科，工作室正在组建核心团队，致力于为艺术团队提供支持和建立材质库、工具以及一般性支持。随着技术的进步和行业标准的变化，材质艺术家必须应对复杂的工具、技术和趋势。本次座谈会旨在探索当前游戏行业中材质和贴图的多维度性质，重点关注经验丰富的专业人士所必备的技能、新兴趋势和个人经验。
作者：Laura Gallagher (Character Artist, Founder, Outgang)
Laura Gallagher gives an in depth breakdown of how she coded Loom, a procedural textile generator using Substance Designer which has been developed specifically with game character artists in mind. Tools to create procedural textiles allow artists to fully customize the look and feel of their textiles down to the individual fibers, controlling their spin, breakup, thickness, colors and more. The talk has two major sections, the first being a crash course in textile anatomy, defining terms like weft, warp, S or Z spin and covering some of the basic weave types like twill and satin. The second section shows how these terms translate directly to code within Substance Designer. In both sections we start from individual fibers, describe their properties and zoom out from there, covering how fibers are spun into singles, how singles spun into yarn and ultimately how yarn is woven into textile.
劳拉·加拉格尔详细介绍了她是如何使用Substance Designer编码制作《Loom》这款程序化纺织品生成器的，该工具特别针对游戏角色艺术家进行了开发。创建程序化纺织品的工具允许艺术家完全自定义纺织品的外观和质感，甚至细化到每根纤维，控制它们的旋转、分解、厚度、颜色等。本次演讲分为两个主要部分，第一部分是关于纺织品解剖学的速成课程，定义了诸如经纱、纬纱、S或Z旋转等术语，并介绍了一些基本的编织类型，如斜纹和缎纹。第二部分展示了这些术语如何直接转化为Substance Designer中的代码。在两个部分中，我们都是从单根纤维开始，描述它们的属性，然后逐步扩展，涵盖纤维如何被纺成单纱，单纱如何被纺成纱线，最终纱线又是如何编织成纺织品的过程。
作者：David Cordero Iglesias (Cinematic Animation Acting Lead, CD PROJEKT RED)
Cinematic animation is crucial to bringing Cyberpunk 2077's rich, well-written characters to life, ensuring full immersion into its brutal world. The session delves into the intricate animation techniques used to overcome the unique challenges of a first-person perspective game, giving fidelity to complex storytelling with thousands of detailed animations — all at the service of player experience. Among other animation techniques used in the pursuit of cinematic realism, you'll learn how our in-house RED Workspot System manages NPC behaviors and interactions across Night City, providing a naturalistic touch to its open world. Discover, with visual analysis and a case study, how all the techniques in our arsenal work together in Cyberpunk 2077 and its Phantom Liberty expansion to improve the kind of storytelling that has always been key to our studio.
电影动画对于赋予《赛博朋克2077》丰富且文笔精湛的角色生命至关重要，确保玩家能够完全沉浸在其残酷的世界中。此次分享深入探讨了用于克服第一人称视角游戏独特挑战的复杂动画技术，通过数以千计的精细动画为复杂的故事讲述提供逼真的效果——所有这一切都服务于玩家体验。
在追求电影级真实感的过程中使用的其他动画技术中，您将了解到我们自主研发的RED Workspot系统（RED Workspot System）如何管理夜城中的NPC行为和互动，为开放世界增添自然真实的元素。通过视觉分析和案例研究，发现我们所有的技术如何在《赛博朋克2077》及其DLC《幻影自由》（Phantom Liberty）中协同工作，从而提升一直以来都是我们工作室核心的叙事质量。
作者：Qiang Dai (Principal Engineer, LIGHTSPEED STUDIOS)
This session explores the integration of large language models and machine learning with procedural generation to enhance the creation of 3D building assets in game development. Attendees will discover how this approach supports various architectural styles within a unified framework, allowing for game-ready assets with higher quality and diversity. The presentation will cover the unified procedural framework supporting various architectural styles, the system's foundational modules, and the optimization of traditional workflows. By providing detailed insights, this session aims to equip game designers and artists with advanced tools and techniques to significantly improve efficiency and creativity in their projects.
本环节探讨了大型语言模型和机器学习与程序化生成的整合，以增强游戏开发中3D建筑资产的创建。参会者将发现这种方法如何在一个统一的框架内支持各种建筑风格，从而实现具有更高质量和多样性的游戏就绪资产。演讲将涵盖支持各种建筑风格的统一程序化框架、系统的基础模块以及传统工作流程的优化。通过提供详细的见解，本环节旨在为游戏设计师和艺术家配备先进的工具和技术，以显著提高他们在项目中的效率和创造力。
Evolving Worlds from the Crumbling Chaos: The Art Led Approach of 'Darkest Dungeon 2's' Procedural Generation System
作者：Marielle Fox (Lead Environment Artist, Red Hook Studios)、Colin Towle (Founder / Programmer, 2Blocks)
In an industry where procedural generation systems are historically programmer-led, Red Hook Studios took an unconventional approach and crafted a system that prioritized the game's art direction instead. In this presentation, Marielle Fox, artist, and Colin Towle, programmer, will discuss what it took to create the system that generates Darkest Dungeon 2's crumbling, post-apocalyptic world.They'll explain how the symbiotic relationship between a technically-minded artist and creatively-inclined programmer allowed them to solve the difficult problems presented by the creation of a highly immersive and visually stunning world for the player to navigate through.This presentation will go over the iterative approach that Colin and Marielle took to construct a feature that not only helped to compose the world art of the game, but also met the high bar set by Darkest Dungeon's iconic visual style. They will also show and discuss the tools created that empowered artists to use the system to its fullest potential.
在一款历史上由程序员主导的程序化生成系统行业里，Red Hook Studios 采取了一种非常规的方法，并创造了一个优先考虑游戏艺术方向的系统。在这次演讲中，艺术家玛丽埃尔·福克斯和程序员科林·托尔将讨论创建生成《Darkest Dungeon 2》那片崩坏后启示录世界系统的整个过程。他们将解释技术导向的艺术家与富有创造力的程序员之间的共生关系如何帮助他们解决了为玩家打造高度沉浸且视觉效果惊人的世界的难题。此次演讲将概述科林和玛丽埃尔采用的迭代方法，这种方法不仅有助于构建游戏的世界艺术，还达到了《Darkest Dungeon》标志性视觉风格所设定的高标准。他们还将展示并讨论那些赋予艺术家充分利用该系统潜力的工具。
链接：https://schedule.gdconf.com/session/external-development-outsourcing-roundtable-day-1/907140
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，在游戏开发行业扮演着重要的角色，并且伴随着大量的挑战。外部开发圆桌会议是一个由主持人引导的论坛讨论，主要围绕外部开发的主题展开，这些主题大多由参与者提出。无论是团队/领导层的认可、职业发展、最佳实践、供应商关系等，这个圆桌会议都将为行业前线的实际从业者提供一个提问、分享想法和解决方案的平台。欢迎来自不同经验和专业领域的参会者，并且他们都将从讨论中受益。强烈鼓励与会者积极参与讨论。
链接：https://schedule.gdconf.com/session/external-development-outsourcing-roundtable-day-2/911322
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，在游戏开发行业中扮演着巨大的角色，同时也带来了大量的挑战。外部开发圆桌会议是一个由主持人引导的论坛讨论，主要围绕外部开发的话题展开，这些话题大多由参与者提出。无论是团队/领导层的支持、职业发展、最佳实践、供应商关系等，这个圆桌会议都将为行业前线的实际工作者提供一个提问、分享想法和解决方案的平台。欢迎来自各个经验水平和专业领域的参会者，并且他们将从讨论中受益。强烈鼓励参会者积极参与讨论。
链接：https://schedule.gdconf.com/session/flex-and-fun-graphics-magic-in-astro-bot/910489
作者：Tai Yamaguchi (Principal Graphics Programmer, Team ASOBI, Sony Interactive Entertainment)
This talk will introduce the key graphics deformation techniques used in ASTRO BOT.In addition to traditional static model rendering, the team implemented fluid effects using signed distance fields, a deformable water surface system based on a tessellation technique, and a versatile model deformation system to create an interactive and playful environment that gameplay needs.These techniques enhanced gameplay immersion and contributed to an improved player experience.Moreover, achieving a stable 60fps was critical, demanding a balance between efficient performance and real-time visual fidelity.In this talk, Tai shares the details that enabled this balance and insights gained from actual use cases.
本次演讲将介绍《ASTRO BOT》中使用的关键图形变形技术。除了传统的静态模型渲染外，团队还使用了符号距离场实现了流体效果，基于细分技术的可变形水面系统，以及一个多功能的模型变形系统，以创建一个符合游戏需求的互动且有趣的环境。这些技术增强了游戏体验的沉浸感，并提升了玩家的游戏体验。此外，实现稳定的60帧/秒至关重要，这要求在高效的性能和实时视觉保真度之间取得平衡。在演讲中，Tai 将分享实现这一平衡的具体细节以及从实际应用案例中获得的见解。
作者：Cody Spahr (Technical Artist, SideFX)
In this technical session, Cody explores the challenges and solutions of implementing procedural generation systems at production scale. While procedural workflows excel at initial environment creation, development teams often face significant hurdles when iterating and modifying large-scale environments during production. Using an internal Moba Desinger tool as context, Cody examines how traditional procedural systems can break down under the demands of production changes and feature additions. The presentation introduces strategies for creating non-destructive workflows that maintain the efficiency of procedural generation while accommodating the practical needs of large-scale game development.
在此技术讲座中，Cody 探讨了在生产规模下实现程序生成系统所面临的挑战和解决方案。虽然程序化工作流程在初始环境创建方面表现出色，但开发团队在制作过程中迭代和修改大规模环境时往往面临重大障碍。以内部的 Moba 设计工具为背景，Cody 考察了传统程序系统在应对制作变更和功能添加的需求时可能崩溃的问题。演讲介绍了创建非破坏性工作流程的策略，这些策略在保持程序化生成效率的同时，还能满足大规模游戏开发的实际需求。
From 'Persona 5' to 'Metaphor: ReFantazio': Using UI to Establish the Visual Identity of a New Franchise
作者：Koji Ise (Lead Interface Designer, Atlus)
This session will introduce the process of realizing the UI style of "Metaphor: ReFantazio." Lead interface designer Koji Ise will explain his approach to the art style, convey the importance of UI design to gameplay, explore some of the problems encountered during development, and explain how the team tried to differentiate Metaphor from Persona.
本环节将介绍实现“Metaphor: ReFantazio”用户界面风格的过程。首席界面设计师伊势浩二将解释他的艺术风格方法，阐述用户界面设计对游戏玩法的重要性，探讨开发过程中遇到的一些问题，并说明团队如何尝试使Metaphor与Persona区别开来。
链接：https://schedule.gdconf.com/session/game-trailer-microtalks/907436
作者：Derek Lieu (Trailer Editor, Derek Lieu Creative)、Caoimhe Carty (Senior Video Editor, Independent)、Matthew Strack (Multimedia Specialist, Raven Software)、Saim Siddique (Director of Content Marketing, Independent)、Jason White (Game Capture Director, Buddha Jones)、Katrina Dodge (Producer, Evolve Originals)、Emily Kolm (Video Lead, Evolve PR)、Ashley Ruhl (Narrative Director, Broadsword Online Games)、Christopher Bennison (Founder & CEO, DualNorth Studios)、Dino Tarvainen (Trailer Maker, Trailer Goblin)
The first ever game trailer microtalks panel featuring seasoned professional game trailer makers in both the indie and AAA space. Great for if you're an aspiring or veteran game trailer maker, or a developer or studio who makes your own trailers. Whether it's a hack to save you some time, a debug option that facilitated better cinematography, or the trials and tribulations of capturing one shot to make a killer opening to the trailer you'll see something technical, inspiring, or humorous about making game trailers (and learn how to make yours better).
首次举办的面向独立游戏和3A游戏领域的资深专业游戏预告片制作者的微讲座小组。对于那些渴望成为或已经是游戏预告片制作者，或者自己制作预告片的开发者或工作室来说，这是一场绝佳的活动。无论你是在寻找节省时间的小技巧，调试选项以实现更好的电影拍摄技术，还是捕捉一个镜头以制作预告片震撼开场镜头的挑战与困境，你都能从中学到一些关于制作游戏预告片的技术性、启发性或幽默的内容（并学会如何让你的预告片更好）。
链接：https://schedule.gdconf.com/session/gaussian-splatting-with-unreal-engine/907320
作者：Adam Andrzejczak (Technical Director, Black Drakkar Games)
Forget polygons—there's a new primitive in town: 3D Gaussians! This talk introduces Gaussian Splatting, a novel approach to game graphics, and demonstrates how to integrate it into Unreal Engine 5 using Niagara particle systems. You'll learn how to create 3D models or entire scenes from everyday photos, virtual environment screenshots, or AI-generated imagery, unlocking new possibilities for artistic expression and game design. The speaker will cover technical challenges, provide solutions, and showcase examples of how Gaussian Splatting enhances real-time game graphics. Expect some cool VFX that you'll be eager to recreate at home.
忘掉多边形吧——城里有了一个新的基本元素：3D高斯函数！本次演讲介绍了高斯点阵法，这是一种新颖的游戏图形方法，并演示了如何使用Niagara粒子系统将其集成到虚幻引擎5中。你将学习如何从日常照片、虚拟环境截图或AI生成的图像创建3D模型甚至整个场景，从而为艺术表达和游戏设计开辟新的可能性。演讲者将涵盖技术挑战，提供解决方案，并展示高斯点阵法如何增强实时游戏图形的例子。预计会有一些很酷的视觉效果，你会迫不及待想要在家尝试重现。
链接：https://schedule.gdconf.com/session/generalized-stylized-post-processing-outline-scheme/907076
作者：Shengwen Zheng (Graphics Engineer, PerfectWorld)、Zhe Zhong (Technical Artist, Independent)
The presentation introduces a post-processing outlining solution for real-time Non-Photorealistic Rendering (NPR). This method can be applied to all game scenes based on deferred rendering, and unique outlining effects can be added through this scheme. Inspired by the low-discrepancy sequences generated after TAA jitter on top of geometric information stored in GBuffer, this method resolves potential issues that may occur during the post-processing stage of the rendering pipeline through a denoising algorithm similar to ray tracing denoising. It successfully simulates a stable and realistic hand-drawn effect to enhance the artistic expression of the game graphics.
介绍了一种用于实时非真实感渲染（NPR）的后期处理描边解决方案。该方法可以应用于基于延迟渲染的所有游戏场景，并且可以通过此方案添加独特的描边效果。该方法受到经过TAA抖动后生成的低差异序列的启发，这些序列基于GBuffer中存储的几何信息。通过类似于光线追踪去噪算法的方法解决了渲染管线后期处理阶段可能出现的问题。它成功地模拟出一种稳定且真实的手绘效果，从而增强游戏画面的艺术表现力。
作者：Ashley Rosenbaum (Lead Animator, Niantic, Inc.)
Being an Animator in game development is chaotic already! There is a balance between creativity, technology, game design and more. Now add the situation where players can scan any object in their world and the need to have in-game characters recognize these objects and react based on their specific characteristics. Niantic is leading the charge in technical innovation, but how did the animation system and pipeline adapt with their technical progress and unique game requirements? Niantic's Lead Animator speaks about her experience of developing a new IP and creating a new patented animation system that was required to meet the ever-changing advancements of augmented reality and mixed reality gaming.
作为一名游戏开发中的动画师已经非常具有挑战性了！这需要在创造力、技术、游戏设计等多个方面找到平衡。现在再加上这样一个情况：玩家可以在他们的世界中扫描任何物体，并且需要游戏角色能够识别这些物体并根据其特定特征作出反应。Niantic 正在引领技术革新的前沿，但他们的动画系统和流程是如何随着技术进步和独特的游戏需求而进行调整的呢？Niantic 的首席动画师分享了她关于开发新知识产权（IP）以及创建一个新的专利动画系统的经验，这个系统是为了满足不断变化的增强现实（AR）和混合现实（MR）游戏的进步需求。
作者：Isaac Olander (CEO, Tallgran)
Join Isaac Olander, CEO and Art Director at Tallgran, on his continued journey to enhance representation of POC in games. With 3 tutorials, Isaac will demonstrate how the current lack of technical support geared towards black hair and black skin creation is limiting game devs from accurately representing POC characters within games. Demonstrating how biases within academic research in computer graphics has led to limited technical support geared towards black hair and skin creation for games. Together, we will explore those limitations and find solutions in both game and software development. We will look at the current efforts made by the game community to make Black hair creation more accessible to developers, and how this has led to better representation in games and VFX.
加入Tallgran的首席执行官兼艺术总监Isaac Olander的旅程，继续探索如何增强游戏中对POC（人物）的代表性。通过三个教程，Isaac将展示当前缺乏针对黑发和黑皮肤创建的技术支持，如何限制游戏开发者准确地在游戏中代表POC角色。他还将展示计算机图形学学术研究中的偏见如何导致了针对游戏中的黑发和皮肤创建的技术支持有限。我们将一起探讨这些限制，并在游戏和软件开发中寻找解决方案。我们还将审视游戏社区目前为使黑发创建对开发者更加可及所做的努力，以及这如何促进了游戏中和视觉效果（VFX）领域的更好代表性。
链接：https://schedule.gdconf.com/session/making-of-a-brawler-character-creation-for-brawl-stars/907875
作者：Fernanda Oliveira (Game Artist, Supercell)
In this lecture, Fernanda reveals what she encountered when joining the Brawl Stars team in 2021, and how she built upon that foundation to solidify the core pillars and creative rules of the Brawl Stars universe. This groundwork allowed the team to develop new, exciting characters and expand the game's world while maintaining the cohesiveness of one of Supercell's strongest IPs. Fernanda explores how elements like humor, nostalgia, and simple yet appealing design have not only shaped the Brawl Stars universe but also forged a deep connection with our players.
在本次讲座中，费尔南达揭示了她在2021年加入《荒野乱斗》团队时所遇到的情况，并且她如何在此基础上巩固了《荒野乱斗》宇宙的核心支柱和创意规则。这些基础工作使得团队能够开发新的、令人兴奋的角色，并扩展游戏的世界，同时保持了超级细胞最强IP之一的连贯性。费尔南达探讨了诸如幽默、怀旧以及简单却吸引人的设计等元素不仅塑造了《荒野乱斗》宇宙，还与玩家建立了深厚的联系。
链接：https://schedule.gdconf.com/session/moving-files-and-managing-assets-at-naughty-dog/907831
作者：Ezra Goss (Senior Technical Artist, Naughty Dog)
File organization is an important part of every collaborative endeavor. In game development, file hierarchies need to change throughout production as experiments illuminate new goals and eliminate old ones. The ability to move, delete, and rename files without unpredictably breaking your game build is a key part of this process as the project scales in both manpower and content. However, we often have highly interconnected networks of files that reference other files… which reference other files… and so on. Reorganizing files in this context is not trivial and when done manually can cost significant time to do safely. This talk discusses how Naughty Dog approaches the problem of moving and renaming source files. Our solution underscores our studio’s value of experimentation throughout production and lays the foundation for a set of new asset management features that our TDs can use in their tools.
文件组织是每项协作工作的重要组成部分。在游戏开发中，随着实验揭示新的目标并淘汰旧的目标，文件层次结构在整个生产过程中需要发生变化。能够在不意外破坏游戏构建的情况下移动、删除和重命名文件，是项目在人力和内容方面扩展过程中的关键部分。然而，我们通常拥有高度相互关联的文件网络，这些文件引用其他文件……而这些文件又引用其他文件……依此类推。在这种背景下重新组织文件并非易事，如果手动操作，则需要花费大量时间以确保安全。
此次演讲讨论了Naughty Dog如何处理源文件的移动和重命名问题。我们的解决方案强调了在整个生产过程中进行实验的价值观，并为技术总监们在其工具中使用一系列新的资产管理功能奠定了基础。
Next-Gen Tech Forum: Generative AI's Honeymoon Is Over: What's Working for Developers Today? (Presented by Invoke)
作者：Kent Keirsey (CEO and Founder, Invoke)
The games industry leads the charge in adopting generative AI in comparison to its film and television counterparts, with 86.7% of professionals already using these tools according to a recent CVL Economics study. AI's impact on the industry is inevitable, but we can shape how studios adapt. In this session, Kent Keirsey, founder and CEO of Invoke, will share visual media workflows being used today by game developers in creative production pipelines. He will discuss strategies for integrating AI into studios, where it is still facing resistance from developers, artists, and consumers.
游戏行业在采用生成式人工智能方面领先于其电影和电视同行，根据最近CVL Economics的一项研究，已有86.7%的专业人士正在使用这些工具。人工智能对行业的影响是不可避免的，但我们可以通过引导工作室如何适应来塑造这一过程。在这次演讲中，Invoke的创始人兼首席执行官Kent Keirsey将分享游戏开发者当前在创意制作管线中使用的视觉媒体工作流程。他还将讨论如何将人工智能融入工作室的策略，尤其是在开发者、艺术家和消费者仍对此持抵制态度的情况下。
作者：Mat Suarez (Associate Technical Art Director, Electronic Arts)
This presentation will focus on EA's Stadium Toolkit, a suite of procedural tools that was created for the development of EA Sports College Football. This toolkit has dramatically reduced the time and resources required for stadium building, transforming a process that once took environment artists months into a task that now takes mere weeks. The Stadium Toolkit captures the unique architecture of each stadium, creating an authentic game day atmosphere that resonates with players. Initially, FIFA and Madden stadiums were built by hand, a laborious process spanning 5-7 months. The creation of the Stadium Toolkit has enabled teams to construct authentic arenas efficiently and at scale. Optimized for College Football, the toolkit facilitated the construction of 155 new college stadiums in under two years, nearly matching the combined stadium count of Madden 24 and FIFA 23.
本次演示将重点介绍EA的体育场工具包（Stadium Toolkit），这是一套为开发EA体育大学足球（EA Sports College Football）而创建的程序化工具。该工具包大幅减少了建造体育场所需的时间和资源，将原本需要环境艺术家花费数月时间的过程缩短到仅仅几周。体育场工具包捕捉了每个体育场的独特建筑风格，创造出一种能让玩家产生共鸣的真实比赛日氛围。最初，FIFA和Madden的体育场是手工建造的，这一过程耗时5到7个月。体育场工具包的创建使得团队能够高效且大规模地建造真实的竞技场。优化用于大学足球，该工具包在不到两年的时间内促成了155个新的大学体育场的建设，几乎相当于Madden 24和FIFA 23的体育场总数之和。
链接：https://schedule.gdconf.com/session/reimagining-leaders-for-civilization-vii/907764
作者：Chandrahas Tanguturi (Animator, Firaxis Games)、Rue Taylor (Narrative Designer, Firaxis Games)
Leaders have always been a core element of the Civilization series. They are the faces of history who engage with, and react to, the stories players create as they build new empires one turn at a time.
In this session, an interdisciplinary panel will walk through the process by which leaders were created for Sid Meier's Civilization VII. From concept to completion, each stage required close collaboration and communication across many teams in order to strike a consistent balance between history and historically-informed creativity. This talk will explore the unique challenges and triumphs encountered by disciplines while working with historical material, as well as methods of interdepartmental cooperation leveraged to bring Civilization's leaders to life.
领导者一直是文明系列的核心元素。他们是历史的面孔，与玩家创造的故事互动，并对这些故事做出反应，玩家通过一步步构建新的帝国来创造这些故事。
在本次会议中，一个跨学科的小组将详细介绍为席德·梅尔的《文明 VII》创建领导者的过程。从概念到完成，每个阶段都需要多个团队之间的紧密协作和沟通，以在历史真实性和基于历史的创造性之间保持一致的平衡。此次讨论将探索不同学科在处理历史材料时遇到的独特挑战和成就，以及为了使文明的领导者栩栩如生而采用的部门间合作方法。
链接：https://schedule.gdconf.com/session/see-the-unseen-revealing-the-art-and-animation-of-kemuri/907400
作者：Liam Wong (Visual Director, UNSEEN Inc.)、Raul Ibarra (Animation Director, UNSEEN Inc.)
Join us for an exploration of the creative journey behind UNSEEN's first title, KEMURI, culminating in its reveal at the Game Awards. This talk takes you behind the scenes of our art team's process, from initial concept sketches to final animations in the trailer. Aligning the team around art direction pillars, and turning around the asset in 8 weeks. In a time where many developers are becoming independent studios - the main purpose of this talk is to help AA / Independent developers understand how they may approach building and refining their art style based on key pillars, using those pillars to help produce marketing art.
加入我们，探索UNSEEN首个作品《KEMURI》背后的创意旅程，并见证其在游戏颁奖典礼上的首次亮相。本次分享将带您深入了解我们艺术团队的创作过程，从最初的草图概念到最终的动画呈现。我们将围绕艺术指导的核心支柱凝聚团队，并在8周内完成资产制作。在如今许多开发者转型为独立工作室的时代，本次分享的主要目的是帮助AA级/独立开发者了解如何基于核心支柱构建和精炼他们的艺术风格，并利用这些支柱来帮助制作营销素材。
作者：Chris Francis (Visual Design Lead, Studio Gobo)
How do you take two well-known and established brands, each with their own unique tone of voice, visual style, and brand language, and combine them to create a UI vision that fits a new brand collaboration?In this talk, Chris Francis (Visual Design Lead UI/UX at Studio Gobo) will talk through the creative process and journey behind bringing together Guerrilla's Horizon franchise with LEGO to establish a UI theme and subsequent UI/UX language for LEGO Horizon Adventures. The team embraced both brand philosophies, which served as a catalyst for inspiration in the UI creation. The talk covers how already defined brand guidelines and rules can help create a unique opportunity to develop new design systems for art & motion -- including how artists utilized new tools within the engine to achieve a signature look & feel in the UI.
如何将两个知名度高且已确立的品牌结合起来，每个品牌都有自己独特的语气、视觉风格和品牌语言，以创建适合新品牌合作的用户界面（UI）愿景？在这次演讲中，Chris Francis（Studio Gobo的UI/UX视觉设计负责人）将讲述将Guerrilla的《地平线》系列与乐高（LEGO）结合在一起背后的创意过程和旅程，以此为《乐高地平线冒险》(LEGO Horizon Adventures)建立UI主题和随后的UI/UX语言。团队接受了两种品牌理念，这成为UI创作灵感的催化剂。演讲涵盖了如何利用已经定义的品牌指南和规则来帮助创建新的艺术与动效设计系统的机会——包括艺术家如何利用引擎中的新工具来实现UI的独特外观和感觉。
作者：Sean Sherwin (Creative Director, Unity Technologies)
Sean Sherwin will be combining the surface gradient bump mapping framework with new production content ideas to show what's possible with the surface gradient framework. This will straddle art disciplines and is for character and environment artists looking to achieve unprecedented level of detail in their work within a realtime engine. He will explore how to exploit the framework to have scalable content production solutions. Enabling artists to have a flexible bump mapping workflow in engine that can save them time, memory and increase quality. Artist will feel like they've been working in black and white and are now being exposed to color.
Sean Sherwin 将会把曲面梯度凹凸映射框架与新的生产内容创意结合起来，展示曲面梯度框架的可能性。这将跨越艺术学科，并且是为那些希望在实时引擎中实现前所未有的细节水平的角色和环境艺术家准备的。他将探索如何利用该框架来实现可扩展的内容生产解决方案。使艺术家能够在引擎中拥有一个灵活的凹凸映射工作流程（bump mapping workflow），从而节省时间、内存并提高质量。艺术家们会感觉他们之前一直在用黑白方式工作，而现在被引入了色彩。
链接：https://schedule.gdconf.com/session/technical-artist-roundtable-day-1/907383
作者：Jeff Hanna (Software Engineering Manager, 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.
技术艺术家的角色已经从清洁工和数据整理者发展成为负责复杂内容制作流程和资产追踪系统的人员。对于技术艺术家而言，程序员和艺术家之间的界限正在逐渐模糊。工具创建、脚本编写、着色器制作、与程序员和艺术家合作以及管理工作流程都是现代技术艺术家所需具备的技能。本次圆桌会议汇集了来自业界各处的技术艺术家，分享他们的知识、经验和成为最佳技术艺术家的技巧。
链接：https://schedule.gdconf.com/session/technical-artist-roundtable-day-2/911346
作者：Jeff Hanna (Software Engineering Manager, 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.
技术艺术家的角色已经从清理艺术家和数据管理人员发展成为负责复杂的资源创建流程和资产管理系统的专业人士。对于技术艺术家来说，程序员和技术艺术家、艺术家之间的界限越来越模糊。工具创建、脚本编写、着色器制作、与程序员和艺术家合作以及管理工作流程都是现代技术艺术家所需具备的技能。本次座谈会汇集了来自业界各处的技术艺术家，分享他们的知识、经验和成为岗位佼佼者的技巧。
链接：https://schedule.gdconf.com/session/technical-artist-roundtable-day-3/911347
作者：Jeff Hanna (Software Engineering Manager, 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.
技术艺术家的角色已经从清理工作和数据整理发展成为负责复杂内容制作流程和资产追踪系统的角色。对于技术艺术家而言，程序员和技术艺术家、艺术家和技术艺术家之间的界限越来越模糊。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都是现代技术艺术家所需具备的技能。本次圆桌会议汇集了来自各行各业的技术艺术家，分享他们的知识、经验和成为最佳技术艺术家的技巧。
Technical Artist Summit: 'Dragon's Dogma 2': The Hidden World of Rigging and Cloth Simulation
作者：Petr Zapotocky (Rigging Technical Director, Capcom)
In order to support a title with as flexible specifications as Dragon's Dogma 2, Petr will take a look at how Capcom modified the internal rigging system, and how he decided to approach rigging the human characters with a flexible character editor in mind. Petr will go over the rigging flow that a character goes through, and how it differs, when a character is subjected to the needs of a Character Editor.An introduction of character editing into the usual mix, presents other challenges when moving cloth is in question, so he'll cover how they have improved the in-house cloth simulation system in the engine, and how the team approached setting up cloth simulation for the characters in the world of Dragon's Dogma 2.
为了支持像《龙之信条2》这样规格灵活的游戏，Petr 将研究卡普空是如何修改内部骨骼绑定系统的，并且他将介绍如何以考虑灵活角色编辑器的方式为人类角色进行骨骼绑定。Petr 将概述角色经历的骨骼绑定流程，以及当角色受到角色编辑器需求的影响时，这一流程有何不同。将角色编辑引入通常的工作流程会带来其他挑战，特别是在处理布料运动时，因此他还将介绍他们是如何改进引擎中的内部布料模拟系统，以及团队是如何着手为《龙之信条2》世界中的角色设置布料模拟的。
作者：Andrea Zanelli (Senior Technical Animator, Studio Gobo Ltd.)
This session explores the ideas, the workflows and the tools behind the cinematic pipeline of the recently released LEGO Horizon Adventures.
Andrea Zanelli, Senior Technical Animator at Studio Gobo, illustrates how the development of a scalable and extendable cinematic pipeline and toolset, spanning from storyboard to final delivery, allowed a small team to iterate quickly and develop thirty minutes of high quality cinematic animation.
The presentation will use examples from the game detailing the anatomy of a cinematic sequence, the tools used for transferring data from the DCC to Unreal, the problems met and the solutions devised to overcome them during the development period.
本环节探讨了最近发布的《乐高地平线冒险》电影化流程背后的理念、工作流程和工具。
安德里亚·扎内利（Andrea Zanelli），Studio Gobo的高级技术动画师，展示了如何开发一个可扩展且可伸缩的电影化流程和工具集，从故事板到最终交付，使一个小团队能够快速迭代并开发出三十分钟的高质量电影动画。
演示将通过游戏中的示例详细说明电影化序列的解剖结构、从DCC软件到Unreal引擎传输数据所使用的工具、在开发过程中遇到的问题以及为克服这些问题而设计的解决方案。
作者：Simon Verstraete (Senior Technical Artist, Studio Gobo)
Optimizing a game for multi-platform comes with various challenges. In this talk we will cover how procedural pipelines where build for LEGO Horizon Adventures.
With the game releasing on PlayStation 5, PC, and Nintendo Switch, it meant that everything in the game must work on those platforms. From the very beginning of development it required us to think out how geometries, shaders, and many other elements needed to work. We created a pipeline where every asset can be generated and updated at any point.
Our end result is a pipeline that can handle the creation and optimization of LEGO assets without having developers doing a lot of manual work.
在多平台优化游戏会带来各种挑战。在这次演讲中，我们将介绍如何为《乐高》系列游戏《地平线冒险》构建程序化管线。
由于游戏将在PlayStation 5、PC和Nintendo Switch上发布，这意味着游戏中的所有内容都必须在这三个平台上正常运行。从开发之初，我们就需要考虑几何体、着色器以及许多其他元素如何协同工作。我们创建了一个管线，使得每个资产都可以在任何时间点生成和更新。
最终，我们实现了一套管线，能够处理乐高资产的创建和优化，而无需开发人员进行大量手动操作。
作者：Ricardo Silva (Lead Gameplay Programmer, Massive Entertainment - A Ubisoft Studio)、Martin Kulig (Senior Technical Artist, Massive Entertainment - A Ubisoft Studio)
In this session, the team behind Star Outlaws dives into the technical challenges and innovations involved in creating seamless level transitions using the Snowdrop Engine. Attendees will explore how the developers overcame the engine's initial limitations to eliminate loading screens, maintaining immersion in the game's vast, explorable galaxy. The talk covers the development of a sophisticated transition system that integrates the player's customizable spaceship, blending environments and managing complex in-game elements like sound, lighting, and weather. Through detailed technical breakdowns and real-world examples, including notable bugs and their solutions, participants will gain valuable insights into the complexities of crafting seamless transitions in modern game development.
在本场会议中，Star Outlaws 开发团队深入探讨了使用 Snowdrop 引擎创建无缝关卡转换所涉及的技术挑战和创新。参会者将探索开发人员如何克服引擎最初的限制，以消除加载屏幕，保持玩家在广阔可探索星系中的沉浸感。演讲涵盖了复杂过渡系统的开发，该系统集成了玩家可定制的太空飞船，融合环境，并管理诸如声音、光照和天气等复杂的游戏中元素。通过详细的技木分解和现实世界示例，包括著名的错误及其解决方案，参与者将深入了解现代游戏开发中打造无缝转换的复杂性。
作者：Muhammad Bin Tahir Mir (Animation Technical Director, Naughty Dog)
This lecture will demystify principles of Object Oriented Programming (OOP) by highlighting the practical applications of these principles within the realm of Technical Art. OOP isn't just theory, it's a set of principles that can enable a Technical Artist to write robust, extensible code.
The lecture will start with a brief introduction to OOP, then dive deeper into the concepts of Inheritance and Abstraction as they pertain to a Maya Python setting. I will first walk through the process of writing a simple UI for a Maya tool using the PyQt API, without incorporating principles of OOP. I will follow this with writing the same tool but with the principles of OOP applied.
Through these examples, we will understand how crucial it is for a Technical Artist to have a solid grasp of OOP principles and how incorporating them into their coding habits can elevate their work.
本讲座将通过强调面向对象编程（OOP）原则在技术艺术领域的实际应用来揭开其神秘面纱。OOP不仅仅是理论，它是一套原则，能使技术艺术家编写出健壮且可扩展的代码。
讲座将以对OOP的简要介绍开始，然后深入探讨继承和抽象的概念，特别是在Maya Python环境中的应用。我将首先展示如何使用PyQt API为Maya工具编写一个简单的用户界面，而不涉及OOP原则。随后，我将展示如何在同一工具的编写过程中应用OOP原则。
通过这些示例，我们将理解对于技术艺术家而言，牢固掌握OOP原则是多么重要，以及将其融入编码习惯如何能提升他们的工作。
作者：Robin-Yann Storm (Product & UX for Tools, 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?
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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, with one day having a larger focus on artistic workflows, and the other having a larger focus on technical issues.
USD代表'Universal Scene Description'，它是皮克斯经过多年的开发和多部电影的应用后，在2016年向公众发布的开源3D文件格式。尽管从技术上讲，它更像是一种API而不是文件格式，关于USD的术语和使用方式仍存在持续的讨论。
在这次会议中，与会者可以聚集在一起讨论USD。来见面、交流并了解大家是如何使用USD的。
问题可以在圆桌讨论环节提交。例如，这些问题可能包括以下主题：
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在将USD集成到您的工作流程中时遇到了哪些问题？
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为了使USD得到更广泛的应用，需要做些什么？
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工作室和供应商如何最好地共享Schemas？
问题可以围绕技术问题、设计以及艺术工作流程展开，其中有一天的重点更多放在艺术工作流程上，而另一天则更侧重于技术问题。
链接：https://schedule.gdconf.com/session/the-universal-scene-description-usd-roundtable-day-2-tech/911361
作者：Robin-Yann Storm (Product & UX for Tools, 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:1. What are issues you have bumped into when implementing USD into your pipeline?2. What would be required for USD to be more widely adopted?3. How can studios, and vendors, best share Schemas? Questions can be oriented towards technical issues, design, and artistic workflows, with one day having a larger focus on artistic workflows, and the other having a larger focus on technical issues.
USD代表'Universal Scene Description'，它是皮克斯公司经过多年和多部电影的开发而创建的一种3D文件格式，并于2016年向公众开源发布。尽管从技术上讲，它更像是一种API而不是文件格式，这仍然是一个关于USD术语和技术使用的持续讨论。在这个环节中，与会者可以聚集在一起讨论USD。欢迎大家前来交流、讨论并了解大家都在用USD做些什么。参与者可以在圆桌会议上提交问题。例如，这些问题可能包括以下主题：1. 在将USD集成到您的工作流程中时遇到了哪些问题？2. 为了使USD得到更广泛的应用，需要做些什么？3. 工作室和供应商如何最好地共享Schemas？问题可以围绕技术问题、设计以及艺术工作流程进行，其中有一天会更多地关注艺术工作流程，另一天则更多地关注技术问题。
作者：Alex Cortes (Senior VFX Artist, Blizzard Entertainment)
Gather around and take a seat as we explore how VFX artists on Hearthstone create visual stories that enhance key gameplay moments to bring delight and joy to its players. Learn how the artists craft cohesive visuals among hundreds of Hearthstone legendary animations by abstracting elements from the art to create whimsical moments and grand entrances for Hearthstone's legendary cards. See what makes a legendary animation successful and how the artists approach and ideate on unique ideas for them. Learn how to approach VFX with the goals of evoking certain emotions from the player in the presence of the effect by thinking a little bit outside the box!
围坐在一起，听听《炉石传说》的VFX（视觉效果）艺术家们如何创作视觉故事，以增强关键的游戏时刻，为玩家带来欢乐和喜悦。了解艺术家们如何通过抽象艺术元素来创造数百个《炉石传说》传奇动画中的幽默瞬间和宏伟入场，从而打造出连贯的视觉效果。看看是什么使得传奇动画成功，并了解艺术家们如何针对它们提出和构思独特想法。学习如何通过稍微跳出常规思维来设定VFX的目标，从而在效果呈现时激发玩家的特定情绪。
链接：https://schedule.gdconf.com/session/visual-effects-roundtable-day-1/907806
作者：Jason Keyser (Founder, CEO, VFX Artist, VFX Apprentice)、David Johnson (CEO / Creative Director, Undertone FX)
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) 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. (David Johnson)
近年来，实时视觉特效（VFX）领域的工具和技术发生了巨大变化。现在我们拥有异常强大的桌面GPU、快速发展的移动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，并展示了它们的能力，而VR/AR/XR继续对行业产生影响。这是实时视觉特效领域的一个令人激动的时代。加入圆桌讨论，聆听其他视觉特效艺术家的见解，了解他们的成功与失败，比较那些理想化的想法，并分享你最喜爱的技巧。
第一天：讨论一般性话题，并回顾本周早些时候在VFX峰会上提出的新观点。（杰森·凯斯）
第二天：从艺术视角探讨视觉特效，重点回答参会者关于视觉特效艺术方面的疑问。这可能包括艺术教育（无论是作为学生还是资深人士）、艺术指导等内容。（杰森·凯斯）
第三天：从技术角度探讨如何创建视觉特效，引导讨论涉及基于图表的效果创作、效果照明与优化、新的基于网格的技术、VR/AR/XR等主题。（大卫·约翰逊）
链接：https://schedule.gdconf.com/session/visual-effects-roundtable-day-2/911359
作者：Jason Keyser (Founder, CEO, VFX Artist, VFX Apprentice)、David Johnson (CEO / Creative Director, Undertone FX)
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链接：https://schedule.gdconf.com/session/visual-effects-roundtable-day-3/911360
作者：Jason Keyser (Founder, CEO, VFX Artist, VFX Apprentice)、David Johnson (CEO / Creative Director, Undertone FX)
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) 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. (David Johnson)
实时视觉特效领域的工具和技术在过去几年里发生了巨大的变化。现在我们拥有了异常强大的桌面GPU，快速发展的移动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，并展示了它们的能力，而VR/AR/XR继续对行业产生影响。这是实时视觉特效领域的一个令人惊叹的时代。加入圆桌讨论，聆听其他视觉特效艺术家的声音，了解他们的成功与失败，比较那些天马行空的想法，并分享你最喜爱的小技巧。
第1天：涵盖一般话题，并回顾本周早些时候在视觉特效峰会上提出的新思路。（杰森·凯斯）
第2天：从艺术视角探讨视觉特效，重点关注参会者关于视觉特效艺术方面的疑问。这可能包括艺术教育（无论是作为学生还是资深人士）、艺术指导等更多内容。（杰森·凯斯）
第3天：从技术角度探讨如何创建视觉特效，引导对话涉及基于图表的效果创作、效果照明与优化、新的基于网格的技术、VR/AR/XR等内容。（大卫·约翰逊）
链接：https://schedule.gdconf.com/session/visual-effects-summit-approaching-embergen/910504
作者：Dan Paynter (Associate VFX Artist, Beyond-FX)
Embergen is approachable, powerful, and great for beginners and advanced artists alike! In this lecture, Dan will cover the basics of diving into Embergen and learning navigation, what the basic nodes do, and how to create your own smoke flipbooks with confidence! It seems that there aren't a lot of quick and straightforward talks about how to work with Embergen and Dan's here to help you with that. He will be covering how to create two different types of flipbooks, a single play flipbook example for a dust kick up or impact effect, and tips and tricks on how to create a seamless looping smoke poof. Come learn how to approach Embergen with these examples and the knowledge of how to continue branching out from what you have learned to create excellent VFX!
Embergen（ Embergen ）是一款易于上手、功能强大的工具，非常适合初学者和高级艺术家！在这次讲座中，Dan 将介绍如何开始使用 Embergen 以及学习导航，讲解基本节点的功能，并教你如何自信地创建自己的烟雾翻书（flipbooks）。似乎很少有简短且直接的讨论是关于如何使用 Embergen 的，而 Dan 正是为了帮助你解决这个问题而来。他将讲解如何创建两种不同类型的翻书：一种是用于尘土飞扬或冲击效果的单播放翻书示例，另一种是如何创建无缝循环的烟雾效果。通过这些示例来学习如何使用 Embergen，并掌握如何从已学知识中进一步拓展，创造出优秀的视觉特效（VFX）！
作者：Rachel Quitevis (VFX Artist, Beyond-FX)
The player experience is directly affected by a game’s visual literacy. Successful VFX contributes directly to the success of game design across all genres, improving player comprehension, readability, responsiveness, immersion, and satisfaction. Satisfying visual effects encourage and reward a player, even guiding them to a path of progression. Properly-timed, singular frames of an animation can make the difference between a clear, impactful action and unsatisfying gameplay. But why is this so, and how do we make our visual effects work to this benefit? In this lecture, Rachel Quitevis of Beyond-FX will explore successful visual literacy in VFX, the principles at work, and how to apply them.
玩家体验直接受到游戏视觉素养的影响。成功的视觉特效（VFX）直接有助于所有类型的游戏设计的成功，提高玩家的理解力、可读性、响应性、沉浸感和满意度。令人满意的视觉效果甚至可以引导和奖励玩家，帮助他们走向进步的道路。恰当时间的动画单帧画面可以区别开清晰且有影响力的动作与令人不满的游戏玩法。但为什么会这样，我们又如何使我们的视觉效果服务于这一优势？在这次讲座中，Beyond-FX的Rachel Quitevis将探讨VFX中成功的视觉素养、背后的原则以及如何应用它们。
Visual Effects Summit: Mastering Texture Usage and Compression in Unreal: When to Use It and Why It Matters
作者：Jad Deeb (Principal Technical Artist, Jin&Jaw LTD / Omeda Studios)
Texture compression in Unreal Engine is a game-changer for making your game look awesome and run smoothly, no matter the platform. It's all about shrinking those texture files without losing visual quality, so your game can handle anything from high-end PCs to mobile devices.
The trick is choosing the right compression type. For most games, standard formats work great, keeping everything looking good while saving space. Need top-tier visuals? BC7 is your best friend!
And for your UI? SDFs make sure it stays sharp and crisp, no matter the screen size. Managing textures per platform keeps your game running like a dream everywhere.
In the end, nailing texture compression means your game will not only look fantastic but also play smoothly for everyone!
在虚幻引擎中的纹理压缩无论在哪个平台上都能让你的游戏看起来出色并运行顺畅，这真是个改变游戏规则的功能。这主要涉及到在不牺牲视觉质量的前提下缩小纹理文件的大小，从而使你的游戏能够应对从高端PC到移动设备的各种平台。
关键在于选择正确的压缩类型。对于大多数游戏来说，标准格式就能很好地工作，在保持画面效果的同时节省空间。如果需要顶级视觉效果？BC7是你的好伙伴！
而对于用户界面（UI）呢？使用 Signed Distance Fields (SDF) 可以确保它在任何屏幕尺寸下都保持清晰锐利。为每个平台管理纹理可以让游戏在所有设备上流畅运行。
最终，掌握纹理压缩意味着你的游戏不仅看起来非常棒，而且对所有人来说都能顺畅游玩！
链接：https://schedule.gdconf.com/session/visual-effects-summit-math-but-make-it-cute/908740
作者：Chih-Yu Hsieh (VFX Artist, Tuatara)
VFX is a unique discipline that requires a mix of art and technical skills, and the technical aspect has always been a barrier to entry for artists interested in this field. This talk aims to show artists that just like art, math is something you can learn through practice and dedication, and a key part of VFX.
In this talk, Chih-Yu (Geodraws) will dive into useful math concepts, provide visualizations to help explain the idea, and show real VFX examples to demonstrate how math can be applied. We will act as a VFX artist tasked to make a stylized torch fire. After each round of the art director's feedback, Chih-Yu would show how math can be used to address the feedback. Forget the formula and equations, he will show you a visual approach that helps link the math to the visual problem.
VFX（视觉特效）是一个独特的学科，需要艺术和技能技术的结合，而技术方面一直以来都是对有兴趣进入该领域的艺术家们的门槛。本次演讲旨在向艺术家们展示，就像艺术一样，数学是可以通过实践和投入来学习的东西，并且是VFX（视觉特效）的关键部分。
在本次演讲中，Chih-Yu（Geodraws）将深入探讨有用的数学概念，提供可视化帮助解释这些概念，并展示真实的VFX示例以演示如何应用数学。我们将扮演一名VFX艺术家，任务是制作一个风格化的火把火焰。在每次收到艺术总监反馈之后，Chih-Yu将展示如何使用数学来解决这些问题。忘记那些公式和方程吧，他将向您展示一种可视化的方法，这有助于将数学与视觉问题联系起来。
链接：https://schedule.gdconf.com/session/visual-effects-summit-redefining-physical-vfx-systems/910024
作者：Igor Chiang (Senior Software Engineer, Havok)
In the early stage of game design, it is important to identify which elements belong to VFX, and which are part of the rigid body system and can interact with gameplay. This distinction determines the flexibility of gameplay, interactivity, and artistic feel.In this session, the contiguous spectrum between these two systems to unlock more gameplay options for designers and show how this understanding can enhance existing frameworks is explored. He will introduce a system that bridges VFX system and rigid body system, a system that supports team ASOBI in achieving unprecedentedly dynamic, interactive, and immersive gameplay with their latest Astro Bot game.
在游戏设计的早期阶段，重要的是要确定哪些元素属于VFX（视觉效果），哪些是刚体系统的一部分并且可以与游戏玩法互动。这种区分决定了游戏玩法的灵活性、互动性和艺术风格。在此环节中，将探讨这两个系统之间的连续谱，以解锁更多供设计师使用的游戏玩法选项，并展示这种理解如何增强现有的框架。他将介绍一个连接VFX系统和刚体系统的系统，该系统支持ASOBI团队在其最新的《Astro Bot》游戏中实现前所未有的动态、互动和沉浸式游戏体验。
Visual Effects Summit: The Marriage of GPU and CPU Particles: Creating VFX by Combining the Visual Effects Graph and the Built-in Particle System in Unity 3D
作者：Shaoyong (Abel) Zhang (Lead VFX Artist, Funplus games)、Yongchao Wen (Sr. VFX Artist, Funplus Games)、Jinghua Jiang (CTO , Funplus Games)、Chenlin Tong (VFX Artist, Funplus Games)
Explore the transformative impact of GPU particles in game development and learn how to seamlessly integrate them with CPU particles to create visually stunning and efficient visual effects in Unity 3D. This session will delve into the capabilities and advantages of Unity's Visual Effects Graph (VEG) and the built-in particle system, offering practical examples from the project "World-X" and addressing potential challenges and solutions when marrying CPU and GPU particles. Attendees will gain valuable insights into effectively leveraging GPU and CPU particles to elevate the quality and performance of visual effects in game development.
探索GPU粒子在游戏开发中的变革性影响，并学习如何将其与CPU粒子无缝集成，在Unity 3D中创建视觉上令人惊叹且高效的视觉效果。本次会议将深入探讨Unity的视觉效果图（Visual Effects Graph，VEG）和内置粒子系统的功能与优势，通过项目“World-X”的实际示例进行说明，并讨论在结合CPU和GPU粒子时可能遇到的挑战及解决方案。参会者将获得有价值的见解，了解如何有效利用GPU和CPU粒子以提升游戏开发中视觉效果的质量和性能。
作者：Bruno Afonseca (Principal VFX Artist, Tuatara VFX)
A VFX artist is expected to be able to solve a wide variety of problems. The more tools and tricks one has at their disposal, the more possibilities one has to explore to add depth and complexity to their work and achieve a better visual result, while at the same time being mindful of performance constraints.
In this session, Bruno showcases numerous VFX shader, mesh and texture techniques that he has accumulated throughout his career, that have proven useful, in a rapid fire manner, with illustrated examples.
一位视觉特效（VFX）艺术家应该能够解决各种各样的问题。一个人拥有的工具和技巧越多，就越能探索更多的可能性，为自己的作品增添深度和复杂性，并实现更好的视觉效果，同时也要注意性能限制。
在本节中，布鲁诺以快速演示的方式展示了他在职业生涯中积累的许多已被证明有用的视觉特效着色器、网格和纹理技术，并通过示例进行了说明。
Visualizing the Next Generation of Games With the NVIDIA RTX Branch for Unreal Engine 5 (Presented by NVIDIA)
作者：Richard Cowgill (RTX Unreal Engine Evangelist, NVIDIA)、Kelsey Mihalatos (RTX Unreal Engine Technical Artist, NVIDIA)
The NVIDIA RTX Branch of Unreal Engine (NvRTX) has been around since UE 4.25. As Unreal Engine grew, so did NVIDIA technologies and optimizations that are all bundled up in the NvRTX branch. Focusing on Unreal Engine 5, we'll be discussing how games can leverage NvRTX in the most optimal way possible, through recommended workflows, best practices, and demonstrations.
NVIDIA RTX 分支（NvRTX）自 Unreal Engine 4.25 版本就已经存在。随着 Unreal Engine 的发展，NVIDIA 的各种技术和优化也在不断进步，并且这些都整合到了 NvRTX 分支中。我们将重点关注 Unreal Engine 5，讨论如何通过推荐的工作流程、最佳实践和演示来最大程度地利用 NvRTX 开发游戏。
链接：https://schedule.gdconf.com/session/when-animation-is-simply-not-enough/906796
作者：Richard Lico (Cofounder, CorAnimus LLC)
Richard has spent the last quarter century animating games as massive as stars and as minuscule as mice. He helped to redefine the animation workflow, and pushed character depth in VR. Yet, after all this, I've decided to climb out of my animation box. And wow, the view from here is inspiring.This is a motivational talk about our journey as creatives. It explores why we do what we do, how easy it is to lose sight of this purpose over time, and how to age gracefully in an industry that's ever changing. As an animator who's now a music composer, designer, sculptor, founder, etc... He shares his story in a way that relates to each of our personal journeys.
理查德在过去二十五年里参与制作了规模宏大如恒星和微小如老鼠的游戏动画。他帮助重新定义了动画工作流程，并在虚拟现实（VR）中推动了角色深度的发展。然而，经历了这一切之后，我决定跳出我的动画“盒子”。而且哇，从这里看到的风景真是令人鼓舞。这是一场关于我们作为创作者旅程的励志演讲。它探讨了我们为什么做我们所做的事情，随着时间的推移，我们多么容易失去这个目标，以及如何在一个不断变化的行业中优雅地成长。作为一名从动画师转变为音乐作曲家、设计师、雕塑家、创始人等多重身份的人……他以一种与我们每个人的个人旅程相关的方式分享了他的故事。