#ai shader for 3d model

[redslug]

I hate setting up cloth sim Anyway, I'd say it's doing a terrific job considering the somewhat shoddy input (skinning mishaps, clipping, simplistic textures, etc)

Definitely gets rid of the majority of "3d model feeling". The issues I can see are the drifting eye color and yellow flowers getting lost, but it's something that should get remedied with a model trained for specific character appearance. All in all, worth exploring further with more effort put into the base 3d render.

[wincked-l]

Little and simple turn around for the motor bike

[bogleech]

So unfortunately you can still see posts from people who have blocked you (particularly when someone else links you) and someone wrote this huge rebuttal to the pokemon thing that makes me sound like such a jerk about it, I really can’t just not respond? Like are people doing it on purpose to be rude, skim-reading and filling in the blanks, or do I genuinely communicate my thoughts and opinions that badly the first time? :(

So I’m honestly not even sure what this part of the thread is trying to address or correct me on, for instance, because it uses a screenshot with my explanation right there. I was using this as an example of the differences you get when a model is based on the 2-d art, and I chose the model as seen in Pokemon Home specifically because it follows the pose of the art and therefore makes comparison easier. It is in fact the same exact model used in SwSh, but in the game it has a different shader/filter applied.

This is another odd response because the very first thing I say in my article is exactly what they say here, that the silk was clearly redrawn. And “facing different angles” isn’t relevant because when you draw over a 3-d model, you get the model first and you position it how you want. I wasn’t making a comparison to poses and angles. Parts are also clearly redrawn like the “tail,” but the head especially has that rotoscoped geometry.

So then this person thinks the phrase “auto generated” meant I was bringing AI art into this??? Auto generated means you took the 3-d model and applied 2d stylization filters to it, which has been a thing since before Neuralnet AI art. Filtering 3d into a 2d look is also a legitimate method to make cool artwork, they just didn’t do it in a very good way for some of these Pokemon.

Again this makes me sad enough to have to respond to because it’s written like I’m actually stupid, mean spirited or dishonest over nothing but Pokemon art and it’s just unreal.

[boggsart]

EXCUSE ME who told you you’re talking too much about your art?? Dude that’s the part I love most!! I like hearing about how you struggled to get it where you wanted, or how much the tools you’re working with frustrated you, but you got to a place you were happy with anyway.

I don’t know anything about 3d animation, and I know even less about game design. So it’s really important for me that you describe your process and how much work you had to do because it your work context. I’m sorry anybody made you feel like that wasn’t valuable. I’d argue that’s more valuable than the finished work itself!!

I always love seeing your posts pop up on my dash. And Wolffe and the 104th look absolutely fantastic in the newest one!! If you don’t mind me asking, what were some of the weird issues you ran into in the 104th’s one, and what makes them different issues from the ones you ran into before?

Thank you so much for all the kind words, but to be completely honest, they are kinda right. I think any artist can relate to the feeling of being too critical towards your own work. I tend to overexaggerate mistakes, or point out issues that aren't even really noticable to someone that knows little about this field. But at the same time, i always have a vision of how i'd like my current work to look like, and when i don't meet my own expectations (which i rarely do), that's when i start yapping. Well there were some minor ones, like noticing how some of the armors were not modeled accurately( like around the shoulder part of the chest piece, it's completely missing that part where it connects the front to the back, elbow pieces are way too big, helmets were also not modeled accurately, etc). I also completely messed up the rigging process, thus giving myself so much more work when animating. There are always certain body parts that just go into eachother (lower arm going into the upper arm when it's bent, feet going into the floor, hands going into the chest, etc) that could have been easily avoidable if i took the time to make a proper rig for my models.

There are also always some texturing mistakes, or wrongly placed focal points i notice once the final render is done. In this one, once all of the characters come up, and the camera starts zooming in on their faces, the focal point was placed too far, resulting in some parts of the helmets looking blurrier, than they should look. Since renders take a whole lot of time, i always try to fix this by putting the final renders into a 3rd party AI upscaling program, instead of going back to place it correctly, then re render it. That's probably a crappy workflow, but if this project wouldn't have a deadline that's approaching WAY TOO QUICKLY, and i wouldn't have a lot more stuff to model and animate, i would do the latter. At the same time, i probably should just pay more attention before hitting the render button lol. Also, the movements of the characters sometimes look way too stiff, and don't have that fluidity to them. I haven't been animating for long, so here's the reason for that, at the same time tho, i'm noticing some impovements when comparing the recent piece to my first animation. These are the problems i'm running into most of the time. In the recent one though, if you look closely, once Wolffe goes into his stance (after the commander Wolffe text disappeares) there's some weird black flickering going on around his chest/belly area, that for the love of God, i could not fix. Sometimes the particle system can cause some really interesting issues, that most of the time can be fixed by baking the dynamics. Since i did that (multiple times, deleting them, then re baking) and the issue persisted, i started to think either the shaders, or the particle system+volumetric fog combo was causing this problem. I also use a s*** ton of REALLY powerful lights, with the power constantly changing throughout the entire animation, that could also be causing this issue (i think?) I tried re-placing the cube that's making the volumetric fog, tried placing the lights and camera slightly elsewhere, but nothing worked, so i just decided to leave it as it is. The super slow mo parts are being made in the Non Linear Animation editor, which is... just as confusing as it sounds lol. Making the slow mo parts sometimes causes the blasters to disappear then reappear at the wrong time. The way grabbing the blasters then putting them away works is by having one blaster that's always parented to one hand, and one, that's always parented to the holster, and you change the visibility accordingly. (the moment the character pulls the blaster out of the holster, both blasters have to be perfectly alligned so the change in visibility doesn't have a weird jump in it) The visibility itself gets an action strip on its own, and it's hard to line them up correctly once you chopped up all your other strips and scaled them to make them slow motion. Because if the armature's action strip gets chopped up and scaled to make the movement slow motion, then everything else that has movement linked to it has to as well. So lights, the camera, the empty axes that the camera is parented to, and the blasters as well. This could be achieved by just placing the keyframes further apart from eachother, but i found this method to be somewhat simpler.

I'm probably doing this the wrong way though and could just place the keyframes accordingly without pushing the blaster action down to the NLA editor (cuz after all it's just visibility, not slow motion movement the blaster has). Though i have some really cool ideas with blasters in the upcoming animations, that would probably require to have them as NLA strips. Or maybe not, and everything i'm doing and talking about is bullshit, and isn't the way it should be done, and i really hope someone, that's in the industry doesn't read this and go "what the f is this woman talking about" lol. Basically everything about animating confuses the hell out of me, and i'm always doing stuff on the trial and error basis. So i hope one day i'll be able to learn it properly haha See, i'm yapping way too much after all. And i'm sorry for the long answer, but i'm really really passionate about this. And it actually feels so nice to know that there are people out there that care. 💖💖

[genericpuff]

(about the bell post) i dont know anything about lore olympus but is there something inherently bad in using free stock images? like, thats what stock images are for right? i know that its probably lazy or whatever but is that the only problem? /genuine

Part of the issue with using stock photos is licensing. Like fonts, they're in abundance online and easy to snag for "free", but as soon as you enter commercial work, it becomes a legal minefield. Stock photos typically belong to either individuals or corporations that rely on people buying the rights to those photos to use them; if they don't, they could very well be sued for copyright infringement.

In that respect, emojis fall into a similar grey area. Some emojis are public domain/open source meaning they're free to use for everyone. But many are not. It's why different social media platforms and different phone providers use different emoji's - it's not purely for branding (though that is a factor as Facebook emojis have become distinguishable from Android emojis) but also for ownership.

So, in the legal sense, I do not know if the bell emoji that Rachel used in LO is legally hers to use, or if it's even subject to such laws (it could be an open source image meaning it's free-for-all). I'm hoping for her sake she's not breaking any sort of copyright ownership laws, but I'm also not a lawyer and wouldn't know how to get that information even if I wanted to lmao

Aside from the legal, it's also just... sigh I'm gonna get into more opinionated territory here, but even if something is open source, even if you're legally free to use a stock photo or other tool to create your comic, there's also the ethics/integrity of it. Lore Olympus is not a Canvas comic. It is not an indie hobbyist project. It's a commercial product with multiple people working on it behind the scenes, book deals, merch deals, a TV deal, and an upcoming feature at this year's SDCC, with Rachel headlining alongside Cassandra Claire (Mortal Instruments) and Jeff Smith (BONE). Webtoons is trying very hard to market LO as a 'flagship' series and convince the public that it can stand alongside other literature juggernauts.

What I'm trying to say here is, if Rachel did legally use it, it doesn't make it any less cheap. There's a lot of discussion in the art field over the usage of external tools and assets in art creation, especially here in the west. 3D models, AI shaders, gradient maps - there are tons of things that exist now that stand to benefit artists, but can be abused or used poorly, being used as less of a tool to benefit an artist with pre-existing skills and more as a cheap shortcut to circumvent actual skill/effort.

The bell emoji isn't the heart of the issue I pointed out in that post. If it were an isolated thing, if LO were an otherwise impeccable comic with high-effort art and just one little picture of a bell, it wouldn't be that big of an issue.

But LO isn't that comic. The recipe of its art development week after week has become very cheap and low-effort, and the bell is really just the cherry on top.

And just to make it clear, I do stand by artists being able to use tools that make their lives easier. None of this is to say it's wrong to use stock images, or 3D models, or gradient maps, or whatever have you. Those tools exist to help and can be used in fun and experimental ways to bring new perspectives and life to your work. And I'm not going to scrutinize whatever shortcuts are being used in a comic that's being made for free by a hobbyist or someone who's still learning.

But like all tools, there are still ways to use them to the detriment of your own work, either due to a lack of understanding as to how that tool works, or lack of effort to blend it into your work. It can make it glaringly obvious that third-party assets are being used, and can often distract from what you've drawn (the complete opposite of what most people are trying to achieve).

When I think of art shortcuts and tools being used poorly, I think of Let's Play and its stock photo background characters.

I think of Time Gate: [AFTERBIRTH]'s stiff default 3D models that result in lifeless poses and restricted body types, which I am VERY eager to move on from LMAO

I think of LO's 3D backgrounds with only 1-2 colors thrown in and the characters floating in front of them. Or sometimes no characters at all even when people are speaking.

And of course, I think of the emoji bell, which could have easily just been drawn as a door or an actual doorbell, and not some random grey bell copied and pasted from a Google search.

All that's to say, too much reliance on poorly-implemented assets can take a great piece of work down to a mediocre one. Of course, the assets definitely aren't the only issue with LO, but they are definitely a piece of the problem. There might not be anything 'wrong' with using assets, but they can still be used poorly or result in cheap-looking work and that's primarily what I'm calling out here.

[secretgamergirl]

The latest disinformation campaign from the con artists pushing "AI" - Expanding the definition.

As a growing percentage of the population is waking up to the fact that the whole "AI" thing is some combination of outright lies, the same autocomplete function your phone has had forever, and obfuscation of the outright theft of an unfathomable amount of art, writing, contents of theoretically secure databases, etc. the newly emerging strategy to keep the world from pulling the plug on the whole thing and putting the people stealing basically every file accessible on the internet is a pivot to a defense of "well SOME uses of AI are outright criminal acts sure, but there's a lot of useful things about it to!" However, since that's... you know, not actually true, what they're actually doing is just going around pointing at literally anything cool involving computers and going "see, that's AI!"

Some of the examples I've been seeing have really just been flooring me, too. These hucksters looking for useful software to use as a shield for their scams are pointing at stuff like the basic fundamental concept of a database, AI in the sense of the routines that dictate enemy behavior in games, and even things like freaking shaders. You know, the code that gets applied to 3D models to determine whether they react to lighting realistically or look cartoon-y or whatever. There's a post going around this site right now trying to claim we wouldn't have Miles' jawline in Spiderverse if we shut down the people stealing every digital artist's portfolio to repackage and pretend a computer did it. Yeah no, putting a hand drawn looking line on the edge of a 3D character's jaw is something we've been doing for at least 30 damn years now.

Everything about these scams infuriates me, but this latest set of lies is particularly setting me off, because we're already apparently dealing with a serious problem in society where a huge number of people under the age of 25 or something are just shockingly lacking in basic computer literacy, and now we've got a bunch of con artists trying to convince them that basic math and data structures are beyond all human comprehension and possible only because of whatever goes on inside of the unknowable black box that has an honest to goodness thinking machine, which not only can't be understood, but will stop functioning if you try to stop people from committing blatant theft.

I'm honestly mostly just venting here, but for real, any time you see this sort of crap, please do your civic duty and call out how none of this stuff is "AI" and useful software has nothing to do with any of these creeps scraping every file they can off the internet.

[canmom]

I'm doing a gamedev course, paid for by Her Majesty's Government, because I guess they think more game developers is more taxes or something. I'll take it lol. Am I going to be come a game developer? Unclear as yet! I'll be as surprised as you. But I need 'money' to 'eat food', I understand, and this is looking like the best bet.

A lot of it is about one big project that I'll be working on over the next ~14 weeks, so I thought maybe people would be interested in what I'm trying to make. Which is THRUST//DOLL, a game about darting and grappling your posthuman shell through hundreds of missiles. You can see some visual inspirations here...

For reasons best known to Past Bryn (ok, it's to learn the tech), I'm trying to do this entire project within Unity's new(ish) Data Oriented Technology Stack (DOTS), which gives you the magic of an Entity Component System, meaning you can shove data in and out of the CPU cache at speeds previously unknown to humanity. DOTS is a paradigm that's supposed to replace the old object-oriented world of GameObjects with something sleek and modern and compiled (using 'Burst', we're still in C# sadly).

So the core idea of ECS is that, instead of storing data on class instances, you put that data in tightly packed arrays of component strcts indexed by the same 'entities', and you iterate over these rapidly with 'systems'. If you've heard of e.g. the Rust game engine Bevy, it's the same idea, just... awkwardly jammed into Unity. (Many other engines are following the same sort of idea).

But... it's had a really rocky history, the API has only just stablised after most of a decade, and half the DOTS-related information you'll find on the internet is plain out of date, and the rest is either a little inscrutable or long video tutorials.

The first task I've been set by the powers that be at "Mastered" is to make a 'configurator'. The assessment task they had me do to get into the course was also a configurator, I guess someone there really likes configuring things. Anyway, for me that's going to be the character creation screen of THRUST//DOLL, where you swap out bits of your body to get new abilities.

So, have the first of some devlogs where I describe the design decisions I've been making so far. At first all I wanted to do was create a system where there are UI elements that you can click on with a little toggleable circle in the UI that is attached to them. Unity has like three ways of doing everything you can think of, so that involved a lot of digging. Eventually I settled on doing it a fourth way using none of Unity's built-in UI systems, using shader magic.

So I made a noodly looking thing for drawing circles:

Why shadergraph and not the cool hardcore HLSL text editor way? Because sigh DOTS has a bunch of weird boilerplate I didn't have the energy to figure out. 'Because DOTS has a bunch of weird boilerplate' is gonna be the recurring thing in this story I suspect. Anyway Unity ShaderGraph is almost the same as Blender Material Nodes, except you need to know a little bit about rasterisation. Luckily I made a rasteriser in 2017, so I have a decent understanding of this stuff.

A billboard shader it turns out is hilariously simple. What you basically want to do is have a polygon that matches the rotation of the camera. However, in a shadergraph, Unity will apply the full MVP matrix no matter what. So the solution is that you do is you take the View matrix, which is the camera's transformation, and invert it, and apply that before the MVP matrix with 0 in the w component to make sure any translation still gets applied. As long as the model isn't rotated at all, it all cancels out.

Anyway I figured out how to do overrides with DOTS components, which is neat, so I can feed in numbers into my shader per entity. The next step was to figure out how to create entities and components to display these little circles... which is the subject of devlog #2.

This one's basically a DOTS cheat sheet where I boil down the main things you'd want to know how to do. If you ever felt like trying out Unity DOTS, I really, really hope it will save you some of the misery I've had. There are so many weird gotchas (you fool, you saved a temporary negative entity index!) but the good part is that it really forces you to learn what's going on in this thing.

That is a good part, right?

Anyway here's the milestone I reached today: cubes you can click on at like 200FPS. It will revolutionise gaming, I think.

Yeah so that looks like shit, but the code is cool, and now the code's there I can make something that looks cool instead of bad!

More updates soon, I have to work pretty hard at this thing. Have another concept sketch!

[futuristicpaintercat]

What are Game Engines and How Do They Work?

At the core of every video game lies a game engine - sophisticated software that handles the rendering of graphics, the physics simulations, the playback of animations and sound, the implementation of game rules, handling of input, and much more. Without a game engine, game development would be immensely difficult and time-consuming. Let's take a closer look at what they are and how they enable efficient game development. What is a game engine? A Game Engine is a framework designed for the creation and development of video games. They provide developers with a way to implement advanced game functionality without having to write it from scratch for each new project. Some key characteristics of them include: - Renderer: Handles the rendering of 3D graphics, shaders, textures, sprite animations, lighting effects and more to display the visual elements of the game. Popular 3D graphics APIs supported include Direct3D and OpenGL. - Physics engine: Simulates real-world physics to determine how objects in the game interact - for example how characters and objects move, collide or are affected by forces like gravity. Popular physics engines include PhysX, Havok and Bullet. - Animation system: Manages skeletal meshes and animation playback for game characters and creatures. Animation data is tied to the physics simulation for realistic movement. - Scripting support: Allows incorporating scripting languages like C#, Lua or JavaScript to handle game logic, AI, events and interactions through pre-defined functions and classes. - Asset management: Provides tools to import, organize and access game assets like models, textures, sound effects and more used in the game world. - Networking functionality: Integrates online multiplayer support through features like network transport layers and client-server or peer-to-peer architectures. - Integrated development environment (IDE): Provides a unified interface to access and optimize all features through visual editors, debuggers and other tools during development. - Godot: A fully-featured, free and open source 2D and 3D engine well-suited for indie games. Scriptable in GDScript with a node-based visual scene editor.

Get more insights on Game Engines

About Author:

Ravina Pandya, Content Writer, has a strong foothold in the market research industry. She specializes in writing well-researched articles from different industries, including food and beverages, information and technology, healthcare, chemical and materials, etc. (https://www.linkedin.com/in/ravina-pandya-1a3984191)

[neelkamble]

Industry Practice Blog 1- The Rise of Hyper-Realistic 3D Characters: Blurring the Lines Between Digital and Reality:

As the world of 3D character modeling keeps on developing, we are witnessing a remarkable shift towards  exceptional degrees of realism and hyper-realism. This change is being driven by an intersection of technological advancements, creative ingenuity, and a constant quest for immersive digital experiences.

The Pursuit of Realism:

The articles [1], [2], and [5] feature the expanded spotlight on accomplishing realism and hyper-realism in 3D character modeling. This includes careful meticulousness, from exact physical designs to nuanced expressions and movements. Procedures like photogrammetry, high-dynamic-range imaging, and high level delivering are empowering 3D craftsmen to catch the complicated subtleties of the human structure with striking precision.

The outcome is another generation of 3D characters that are for all intents and purposes undefined from their real-world counterparts. As the article [2] notes, present day 3D character models gloat an extraordinary degree of detail and authenticity, with high-resolution textures, high level shaders, and genuinely based delivering strategies making a consistent mix of the computerized and the physical.

The Impact of Technological Advancements

Fundamental this shift towards hyper-authenticity is a wave of mechanical progressions that are changing the scene of 3D person displaying. As the articles [1], [3], and [4] examine, the  integration of artificial intelligence (AI) and is improving on the creation process, mechanizing complex undertakings, and adding profundity and nuance to digital characters.

Besides, the rise of virtual and expanded reality (VR/AR) advances is obscuring the lines between the computerized and actual universes, empowering more vivid and intelligent plan processes. The article [3] features how advancements in 3D filtering, volumetric video, and light field shows are ready to upset the manner in which we make and experience 3D characters.

The Broader Applications of Hyper-Realism

The effect of hyper-realistic 3D characters reaches out a beyond the domain of entertainment. As the articles [1], [4], and talk about, these progressions are transforming  industries like medical services, education, and manufacturing, where similar digital portrayals are improving training, recreation, and joint effort.

The article dives into the capability of hyper-realistic avatars to give more precise and engaging representations of clients in virtual conditions, encouraging a more profound feeling of presence and emotional resonance. This has broad implications for the advancement of the metaverse and the fate of digital experiences.

The Challenges and Ethical Considerations

While the quest for hyper-realism in 3D character modeling holds colossal potential, it additionally raises significant moral contemplations. As the article [4] features, the improvement of deepfakes and the potential for abuse of this innovation should be painstakingly explored.

Furthermore, the article [5] stresses the requirement for 3D artists to work out some kind of harmony between technical mastery and artistic expression, guaranteeing that the mission for authenticity doesn't come to the detriment of inventiveness and creativity.

Conclusion

The development of 3D character modeling towards hyper-realism is a demonstration of the exceptional advancements in innovation and the unflinching imagination of 3D artists. As we keep on pushing the limits of what's potential, we should stay aware of the moral ramifications and the significance of keeping a harmony between specialized ability and imaginative vision.

The fate of 3D pcharacter design vows to be an interesting and groundbreaking excursion, one that will keep on obscuring the lines between the digital and the physical, and rethink the manner in which we experience and collaborate with the virtual world.

Bibliography:-

Reporter, S. (2023, August 18). Emerging trends in 3D character modeling - Your Harlow. Your Harlow. https://www.yourharlow.com/2023/08/18/emerging-trends-in-3d-character-modeling/

Salvi, P. (2023, November 15). A Peek into the World of 3D Character Modeling. Encora. https://www.encora.com/insights/a-peek-into-the-world-of-3d-character-modeling

Orgeron, D. (2023, February 14). CES 2023: 5 trends that could impact 3D artists - TurboSquid Blog. TurboSquid Blog. https://blog.turbosquid.com/2023/02/14/ces-2023-5-trends-that-could-impact-3d-artists/

Lucid Reality Labs. (2022, October 21). Digital Twins and Hyper-Realistic Avatars, the 3D modeling of 2022. https://www.linkedin.com/pulse/digital-twins-hyper-realistic-avatars-3d-modeling-2022-

Bob, Bob, & Wow-How. (2024, February 8). The Illusion of Reality: Exploring hyperrealism in 3D animation. Wow-How Studio - Video Production, 2D & 3D Animation. https://wow-how.com/articles/hyperrealism-in-animation

[viperallc]

Revolutionary NVIDIA L40 at ViperaTech: Ada Lovelace-Powered Excellence

The NVIDIA L40 is a remarkable leap forward in GPU technology, harnessing the Ada Lovelace Architecture’s full potential. This groundbreaking GPU is a marvel of engineering, crafted for exceptional performance and efficiency.

Advanced Technology and Design

Architecture: NVIDIA Ada Lovelace

Custom 4nm Process: Leveraging TSMC’s advanced technology

Transistors: A massive 76.3 billion

Die Size: An expansive 608.44 mm2

Robust Computing Capabilities

CUDA Cores: A total of 18,176

Tensor Cores: 568 of the 4th Generation

RT Cores: 142, Generation 3

GPU Memory: A generous 48 GB GDDR6 ECC

Superior Memory and Connectivity

Memory Interface: A wide 384-bit interface

Memory Bandwidth: An impressive 864 GB/s

Display Options: Equipped with 4x DP 1.4a connectors

Max Resolution Capabilities:

4x 5K at 60 Hz

2x 8K at 60 Hz

4x 4K at 120 Hz

Support for 30-bit color

Empowering Diverse Applications

The NVIDIA L40 is tailored for a wide range of professional uses. Its immense power and efficiency make it an ideal choice for tasks like 3D modeling, gaming, AI applications, and scientific simulations. The GPU’s impressive specs ensure smooth, realistic visuals and rapid data processing, elevating the user experience to new heights.

Software Support and Workflow Enhancement

With its support for NVIDIA vGPU software (vApps, vPC, vWS), the L40 excels in providing virtualized GPU instances and efficient resource allocation. Its compatibility with leading graphics APIs like DirectX 12 Ultimate, Shader Model 6.6, OpenGL 4.6, and Vulkan 1.3, ensures seamless integration into existing systems, making it a versatile tool for creators, researchers, and developers alike.

In summary, the NVIDIA L40, with its Ada Lovelace Architecture, represents a pinnacle in GPU design and capability, setting new benchmarks in performance, efficiency, and versatility. Whether for professional or recreational use, the L40 is poised to revolutionize how we experience and interact with digital content.

M.Hussnain Visit us on social media: Facebook | Twitter | LinkedIn | Instagram | YouTube | TikTok

[redslug]

:]

[wincked-l]

Car modeled taking reference from one of Damon Moran drawing.

[energylifedv]

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However, Rhino Mac users can also use Maxwell but through the Maxwell Studio workflow​ .

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Five factions and various battlefields in Europe, Eastern Europe, Northern Africa and the Pacific.

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15 new single player skirmishes plus 25 reworked ones from the original Assault Squad.Commanders can now faceoff against opponents on various new multiplayer 1v1 8v8 maps. In-game video recording, and much more. Men of War: Assault Squad 2 features new single player style skirmish modes that take players from extreme tank combat to deadly sniper stealth missions.Steam features, including Steam multiplayer, matchmaking, achievements, cloud, player statistics, leaderboards, voice chat, Valve anti-cheat, friends invite and workshop.Sound improvements, including voice acting.Fully updated inventory items with new graphics and updated vehicles.Interface and AI improvements, including unit kill counts and squad icon information.Key features of Men of War: Assault Squad 2: These included items such as advanced multi-core support, advanced shader technology, interface and AI improvements, as well as added camouflage depending on season/map, fully updated inventory items with new graphics and updated vehicles, sound improvements, Steam multiplayer and much more.

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Working from their concept art in a selected game genre, students will learn how to model characters within poly budgets, UV texture then rig them to create animated walk and run cycles with blended set key moves, using Inverse Kinematics, Physics, cloth, fluids and AI packages where necessary. Students will be expected to build a rich 3D fantasy world of their own design, with objects such as fantasy buildings and architecture and assets suitable for importing into a 3D games engine world. This module builds on the previous introduction to Modelling and Animation and engages the student in a range of harder and more expert problems. If you have specific questions about the degree, contact the programme leader, Alan Zucconi. You will be working alongside the MSc students, and if you are unsure which programme is for you, you may be able to switch between them in the first two weeks of the course. If you are more interested in developing game-related technical skills such as advanced programming, mathematics, Artificial Intelligence (AI), and shader coding, you may want to read about our MSc Computer Games Programming.

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However, a creative background is strongly recommended, and any experience with 3D modelling software or game engines is very welcome. There are no technical prerequisites for the MA, as the course will cover the basics of modelling, animation, and programming in the first week.

Creative folks who want to use interactive technologies for their projects.

Game developers who want to improve their programming skills.

Character artists and concept artists and who want to create assets for games.

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Game designers who want to learn how to code to bring their ideas to life.

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The MA Computer Games is the perfect fit for anyone who is – or wants to be – in one of the following positions:

Access the strong UK community of publishers and creators with innovative voices creating ground-breaking titles.

Take part in the many events and game jams we organise every year, and be part of the creative and diverse environment that surrounds Goldsmiths.

Get your first internship in the game industry (or work on a research project instead).

Access state of the art game labs and facilities.

Build your portfolio through practical coursework.

Collaborate with colleagues from other courses, including the MSc Computer Games Programming and the MA Independent Games and Playable Experience Design.

Focus on which skills you want to learn, through a selection of option modules you can choose from.

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Why Study MA Computer Games: Art & Design at Goldsmiths This is also one of the only programmes taught by actual game developers, designers, and artists with years of experience in the game industry. The MA Computer Games: Art & Design is right for you if you want to make game development a sustainable career and to work in this creative and rewarding industry.

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One of the only programmes in the UK taught by actual game developers, it will teach you game design, art & animation, and game programming, and has a strong focus on entrepreneurship and business.Īs a fast-growing 150-billion-dollar business, the game industry offers countless professional opportunities. This MA is tailored for people who want to start a career in the game industry. Goldsmiths' operating principles for 2022-23 have not yet been finalised but should changes be required to teaching in response to the Covid-19 pandemic, we will publish these as early as possible for prospective students wishing to start their programme in September 2022.