Unreal Engine RSShttps://www.unrealengine.comUnreal Engine. Voted Best Game Engine time and again. The engine of choice for Gears of War, Infinity Blade, and more big titles.en-USUnreal Engine 4.21 Released<h1 id="what'snew"><strong>What&#39;s New</strong></h1> <p>Unreal Engine 4.21 continues our relentless pursuit of greater efficiency, performance, and stability for every project on any platform. We made it <strong>easier to work smarter and create faster</strong> because we want your imagination to be the only limit when using our tools. And we <strong>battle-tested the engine on every platform until it met our developers&#39; high standards</strong> so your project will shine once it is ready for the masses.</p> <p>We are always looking for ways to streamline everyday tasks so developers can focus on creating meaningful, exciting, and engaging experiences. Our industry-leading <strong>Niagara effects toolset is now even more powerful and easier to use</strong>, enabling you to dream up the next generation of real-time visual effects. You can <strong>build multiplayer experiences on a scale not previously possible</strong> using the now production-ready Replication Graph functionality. Iterate faster thanks to optimizations with <strong>up to a 60% speed increase when cooking content</strong>, run automated tests to find issues using the new Gauntlet automation framework, and <strong>speed up your day-to-day workflows</strong> with usability improvements to the Animation system, Blueprint Visual Scripting, Sequencer, and more.</p> <p>We strive to make it possible for your creations to be enjoyed as you intended by everyone, everywhere regardless of the form factor they choose. Building on the previous release, we have <strong>added even more optimizations developed for Fortnite on Android and iOS</strong> to further improve the process for developing for mobile devices. Available in Early Access, Pixel Streaming opens a whole new avenue to <strong>deploy apps in a web browser with no barrier to entry and no compromise on rendering quality</strong>. We have also improved support for Linux as well as augmented, virtual, and mixed reality devices.</p> <p>In addition to all of the updates from Epic, this release includes <strong>121 improvements submitted by the incredible community of Unreal Engine developers on GitHub</strong>! Thanks to each of these contributors to Unreal Engine 4.21:</p> <p>Aaron Franke (aaronfranke), Adam Rehn (adamrehn), Adrian Courr&egrave;ges (acourreges), aladenberger, Alan Liu (PicaroonX), Cengiz Terzibas (yaakuro), Cerwi, Chris Conway (Koderz), cmp-, Damianno19, Deep Silver Dambuster Studios (DSDambuster), Dorgon Chang (dorgonman), DSCriErr, Dzuelu, Eliot (BillEliot), Erik Dubbelboer (erikdubbelboer), fieldsJacksonG, Franco Pulido (francoap), Frank St&auml;hr (phisigma), George Erfesoglou (nonlin), Hao Wang (haowang1013), Henri Hyyryl&auml;inen (hhyyrylainen), Homer D Xing (homerhsing), IlinAleksey, Jacob Nelson (JacobNelsonGames), Jerry Richards (r2d2Proton), Jesse Fish (erebuswolf), Josef Gluyas (Josef-CL), Joshua Harrington (thejhnz), Kalle H&auml;m&auml;l&auml;inen (kallehamalainen), KelbyG, Layla (aylaylay), LizardThief, Lucas Wall (lucaswall), Mai Lavelle (maiself), malavon, Marat Radchenko (slonopotamus), Marat Yakupov (moadib), Marco Antonio Alvarez (surakin), Markus Breyer (pluranium), marshal-it, Martin Gerhardy (mgerhardy), Mathias H&uuml;bscher (user37337), Michael K&ouml;sel (TheCodez), Morva Krist&oacute;f (KristofMorva), Muhammad A. Moniem (mamoniem), Nick Edwards (nedwardsnae), nrd2001, Oliver (oliverzx), phoenxin, projectgheist, Rene Rivera (grafikrobot), Rick Yorgason (Skrapion), Riley Labrecque (rlabrecque), Sahil Dhanju (Vatyx), Sam Bonifacio (Acren), scahp, S&eacute;bastien Rombauts (SRombauts), Tom Kneiphof (tomix1024), Troy Tavis (ttavis), Truthkey, UristMcRainmaker, Wiktor Lawski (wlawski), yhase7, Zeno Ahn (zenoengine)</p> <h1 id="majorfeatures"><strong>Major Features</strong></h1> <h2 id="niagaraplatformsupportandusabilityimprovements"><strong>Niagara Platform Support and Usability Improvements</strong></h2> <p>In our continuing effort to provide industry-leading effects tools, Niagara has received an expanded feature set, substantial quality of life improvements, and <strong>Niagara effects are now supported on Nintendo Switch</strong>!</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_0.png" /></div> <h3 id="gpu-onlytexturesamplinginniagara"><strong>GPU-Only Texture Sampling in Niagara</strong></h3> <p>You can now <strong>sample a 2D texture or a pseudo-volume 2D texture in your particle scripts</strong>! Create amazing effects such as rendering the scene&#39;s depth, color and normal information using a Scene Capture Actor and use that to reconstruct the environment within a Niagara particle system with the particles&#39; potential and kinetic energy visualized as emissive light.</p> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/qL6TmSqhDTM" width="100%"></iframe></div> <p style="text-align: center;">Check out the Niagara level in the Content Examples project to see how this feature works!</p> <h3 id="niagaraskeletalmeshdatainterfaceimprovements"><strong>Niagara Skeletal Mesh Data Interface Improvements</strong></h3> <p>There are new functions you can use in the Skeletal Mesh Data Interface enabling direct sampling of a Skeletal Mesh&#39;s vertex data as well as access to specific Bones or Sockets on the Skeletal Mesh.</p> <h3 id="ribbonparticleperformanceimprovements"><strong>Ribbon Particle Performance Improvements</strong></h3> <p>Ribbons now generate the ribbon geometry on the GPU instead of the CPU, improving overall performance.</p> <h3 id="gpusimulationsupportinniagara"><strong>GPU Simulation Support in Niagara</strong></h3> <p>GPU simulation of Niagara effects is now supported on all non-mobile platforms.</p> <h3 id="simplifiedsystemandemittercreation"><strong>Simplified System and Emitter Creation</strong></h3> <p>Niagara now includes friendly dialogs that make <strong>creating systems and emitters easier than ever</strong>! You can create new emitters and systems from a curated set of templates to <strong>speed up development and ensure best practices</strong>.</p> <div class="imagetable"> <table> <caption> </caption> <colgroup> <col align="" /> <col align="" /> </colgroup> <tbody> <tr> <td align="" colspan="1" rowspan="1"> <p> </p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_2.png" /></div> <p> </p> </td> <td align="" colspan="1" rowspan="1"> <p> </p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_3.png" /></div> <p> </p> </td> </tr> </tbody> </table> </div> <h3 id="pendulumconstraint"><strong>Pendulum Constraint</strong></h3> <p>This constraint solves with physics forces, optional spring drivers, and includes potential energy calculation. You can now create exciting, dynamic effects such as spawning particles with inherited velocity if the energy exceeds a specified threshold:</p> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/blpuOGGG-TY" width="100%"></iframe></div> <h3 id="moduleadditionsandimprovements"><strong>Module Additions and Improvements</strong></h3> <ul> <li>Generate and receive death events</li> <li>Now factoring mass into multiple modules</li> <li>New SampleSkeletalMeshSkeleton, SampleSkeletalMeshSurface, SkeletalMeshSkeletonLocation and SkeletalMeshSurfaceLocation modules to complement enhancements to the Skeletal Mesh Data Interface</li> <li>New AddVelocityInCone module</li> <li>New Force modules: FindKineticAndPotentialEnergy, GravityForce, SpringForce and multiple usability tweaks to other forces</li> <li>New KillParticlesInVolume module</li> <li>New SpriteRotatationRate module</li> <li>New RecreateCameraProjection module for using render targets and camera transforms to turn scene captures into deformable particle systems</li> <li>New modules for sampling textures: SamplePseudoVolumeTexture, SampleTexture, SubUV_TextureSample, and WorldAlignedTextureSample</li> <li>New utility modules for temporal interpolation and frame counters</li> <li>Many new dynamic inputs and functions</li> </ul> <h2 id="new:replicationgraph"><strong>New: Replication Graph</strong></h2> <p>The Replication Graph Plugin makes it possible to <strong>customize network replication in order to build large-scale multiplayer games</strong> that would not be viable with traditional replication strategies. For example, Epic&#39;s own Fortnite Battle Royale starts each match with 100 players and roughly 50,000 replicated actors. If each replicated actor were to determine whether or not it should update across each client connection, the impact on the server&#39;s CPU performance would be prohibitive.</p> <p>The Replication Graph Plugin solves this problem by offering an alternate strategy geared specifically for high-volume multiplayer games. This works by assigning actors to Replication Nodes, which store precalculated information that clients can use to retrieve lists of actors that need to be updated, saving the CPU of recalculating the same data for many clients on every frame. In addition to the standard nodes that ship with the Engine, developers can write their own nodes to fit the specific needs of actors within their games.</p> <h2 id="new:optimizationsforshippingonmobileplatforms"><strong>New: Optimizations for Shipping on Mobile Platforms</strong></h2> <p>The mobile development process gets even better thanks to all of the mobile optimizations that were developed for Fortnite&#39;s initial release on Android, in addition to all of the iOS improvements from our ongoing updates!</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_5.jpg" /></div> <h3 id="improvedvulkansupportonandroid"><strong>Improved Vulkan Support on Android</strong></h3> <p>With the help of Samsung, Unreal Engine 4.21 includes all of the Vulkan engineering and optimization work that was done to help ship Fortnite on the Samsung Galaxy Note 9 and is 100% feature compatible with OpenGL ES 3.1. Projects that utilize Vulkan can <strong>run up to 20% faster</strong> than the same project that uses OpenGL ES.</p> <h3 id="configrulessystemforandroid"><strong>Config Rules System for Android</strong></h3> <p>The Android Config Rules system can now be used to help catch issues very early in a project start up process. This tool allows for quickly checking for device support and providing either a warning or error dialog to the user if there are issues discovered, such as an out of date driver or unsupported GPU. Any variables set may be queried later in C++ with FAndroidMisc::GetConfigRulesVariable(TEXT("variablename")).</p> <p>To use this system, a <strong>configrules.txt</strong> rules file is optionally placed in your project&#39;s <strong>Build/Android</strong> directory and UPL is used to add a Gradle task to use the ConfigRulesTool to compress and optionally encrypt it during packaging the APK. More details can be found in the engine documentation.</p> <h3 id="programbinarycacheforandroid"><strong>Program Binary Cache for Android</strong></h3> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_6.png" /></div> <p>The Program Binary cache can be used to help improve Shader loading performance and also reduce hitching due to Shader loading on Android devices. The Program Binary cache works by generating optimized binary representations of Shader programs on the device which are used when loading shaders during subsequent runs. Loading Shader programs from optimized binaries can also dramatically decrease Shader loading times. The Program Binary cache must be used in conjunction with the Shader Pipeline cache tool as it will populate the Program Binary cache during the initial run of your application. To enable the Program Binary cache in your project, you will need to add the following command to your AndroidEngine.ini or Device Profile.</p> <ul> <li><strong>r.ProgramBinaryCache.Enable=1</strong></li> </ul> <p><strong>Note</strong>: Some devices do not support the required program binary extension, such devices will fallback to the previous behavior.</p> <h3 id="emulateduniformbuffersonandroid"><strong>Emulated Uniform Buffers on Android</strong></h3> <p>You can now use Emulated Uniform Buffers for projects that target the OpenGL ES3.1 feature level, <strong>significantly reducing memory usage and improving rendering performance</strong> depending on your application complexity. Emulated Uniform Buffers have also been optimized to help reduce the size of the data that needs to be transferred to the GPU when your project is being packaged. To enable Emulated Uniform Buffers when using the OpenGL ES3.1 feature level, add the following line to your project&#39;s <code>DefaultEngine.ini</code> under <code>[/Script/Engine.RendererSettings]</code>:</p> <pre class="prettyprint"> <code>[/Script/Engine.RendererSettings] OpenGL.UseEmulatedUBs=1</code></pre> <h3 id="cputhreadaffinitycontrolonandroid"><strong>CPU Thread Affinity Control on Android</strong></h3> <p>The ConfigRules system can register whether or not to use a supplied little core affinity mask. If enabled, the following threads will use little cores which improves battery life and evens out performance since they won&#39;t switch between big and little cores causing possible hitches: render, pool, taskgraph, stats, taskgraph background, async loading. For details on how to set this up, see the <a href="https://docs.unrealengine.com/en-us/Platforms/Mobile/Android/AndroidConfigRulesSystem" target="_blank">Config Rules</a> documentation.</p> <h3 id="improvedgpuparticlesimulationperformanceonmobile"><strong>Improved GPU Particle Simulation Performance on Mobile</strong></h3> <p>Mobile particle effects that utilize the GPU for particle simulation have been significantly improved. You now have the option of reducing the memory usage for GPU particle simulation by limiting the maximum number of simulated particles that can be used. By default the maximum number of GPU particles that can be simultaneously simulated is set to around one million particles which will use around 32 MB of memory. You can adjust the maximum number of particles to use by adding the following code to your project&#39;s <code>DefaultEngine.ini</code> under <code>[/Script/Engine.RendererSettings]</code>:</p> <pre class="prettyprint"> <code>[/Script/Engine.RendererSettings] fx.GPUSimulationTextureSizeX=512 fx.GPUSimulationTextureSizeY=512</code></pre> <ul> <li>Setting the value from 512 to 256 will reduce the memory footprint to around 8 MB.</li> <li>The SimulationTextureSize size has to be a power of 2.</li> <li>These improvements are especially apparent on devices that use the ARM Mali GPU.</li> </ul> <h3 id="ditheredlodtransitions"><strong>Dithered LOD Transitions</strong></h3> <p>Dithered LOD transitions are now supported on mobile platforms. When enabled, objects with Materials that have <strong>Dithered LOD transitions</strong> option enabled will now fade from one Level Of Detail (LOD) to another in an almost seamless manner. By default support for Dithered LOD transitions is disabled for mobile platforms. To enable it, go to <strong>Project Settings</strong> > <strong>Rendering </strong>> <strong>Mobile</strong> and then check the<strong> Allow Dithered LOD Transitions</strong> option.</p> <p>Note: Materials that have Dithered LOD transitions<strong> enabled </strong>will be rendered as Masked Materials. This could have a negative performance impact on mobile platforms. We recommend enabling this effect only on Masked Materials.</p> <h2 id="new:cookerperformance"><strong>New: Cooker Performance</strong></h2> <p>The cooking process has been optimized resulting in <strong>up to 60% reductions in cook times</strong>! Low-level code now avoids performing unnecessary file system operations, and cooker timers have been streamlined. Handling of unsolicited Assets (with regard to Asset dependencies) has also been refactored to scale better. These changes are most pronounced on larger projects (projects with more than 100,000 Assets).</p> <h2 id="new:pixelstreaming_earlyaccess_"><strong>New: Pixel Streaming (Early Access)</strong></h2> <p>Run a packaged Unreal Engine application on a desktop PC in the cloud, and <strong>stream the viewport directly to any modern web browser on any platform</strong>! Get the highest-quality rendering in lightweight apps, even on mobile devices, with zero download, zero install.</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_7.png" /></div> <p style="text-align: center;"><em>A viewport rendered by Unreal Engine, embedded within a web UI. Images and models courtesy of McLaren.</em></p> <p>You can broadcast a single game session to multiple viewers by simply sharing a link, or send each connecting user to their own separate game session.</p> <p>The web page that hosts the Engine viewport automatically sends keyboard, mouse and touch events back to the Engine. You can also customize the page with your own HTML5 UIs, using custom JavaScript events to trigger and respond to gameplay events over the wire.</p> <p>For details, see <a href="https://docs.unrealengine.com/en-us/Platforms/PixelStreaming" target="_blank">Pixel Streaming</a> .</p> <h2 id="new:animationsystemoptimizationsandimprovements"><strong>New: Animation System Optimizations and Improvements</strong></h2> <p>The Animation System continues to build on its best-in-class features thanks to new workflow improvements, better surfacing of information, new tools, and more!</p> <h3 id="animationcompressionupdates"><strong>Animation Compression Updates</strong></h3> <p><strong>Animation Compression times are significantly reduced</strong> by using a whitelist of optimal codecs to avoid trying permutations that are unlikely to be selected which greatly reduces the number of codecs we attempt to compress with. On multicore systems, most of the codecs now evaluate in parallel during automatic compression, further reducing the time it takes to compress an animation sequence.</p> <p>The following updates were made to the Animation Compression Stat Dialog window:</p> <ul> <li>Fixed bugs that would cause dialog to show incorrect results</li> <li>Added compression time stat</li> <li>Added number of compressed animations</li> <li>Added tracking for animation with largest average error</li> <li>Added tracking of worst 10 items instead of just worse</li> <li>Better labeling on dialog</li> <li>Pass through FBoneData array more instead of recalculating</li> </ul> <p>Please see <a href="https://docs.unrealengine.com/en-us/Engine/Animation/Sequences#compression" target="_blank">Compression</a> for more information.</p> <h3 id="animationnotifyimprovements"><strong>Animation Notify Improvements</strong></h3> <p>New Animation Notifies have been added that enable you to manage the state of dynamics and cloth simulations. We have also updated Notify add/replace menus to use class pickers for better searching of BP and native notifies. To add a Notify, right-click on a Notifies track, then under Add Notify, select the type of Notify you wish to add.</p> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/8Xh3aLVg8pM" width="100%"></iframe></div> <p>Please see <a href="https://docs.unrealengine.com/en-us/Engine/Animation/Sequences/Notifies" target="_blank">Animation Notifications (Notifies)</a> for more information.</p> <h3 id="maintainoriginalscaleofrootmotion"><strong>Maintain Original Scale of Root Motion</strong></h3> <p>Added Use Normalized Root Motion Scale option to maintain the original scale of Root Motion. This option is on by default and is the functionality that existed prior to this Engine release. Choosing to disable this option will now use the final blended animation instead.</p> <p>Please see <a href="https://docs.unrealengine.com/en-us/Engine/Animation/RootMotion#enablingrootmotion" target="_blank">Enabling Root Motion</a> for more information.</p> <h3 id="addedcachingandautocompletefor" syncmarker=""><strong>Added Caching and Autocomplete for "Sync Marker" Names</strong></h3> <p>When creating Sync Markers, you can now access any Sync Markers assigned to the Skeleton from the Existing Sync Markers menu option. Entering text into the search box will also filter out Sync Markers based on your text entry.</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_9.png" /></div> <h3 id="animationsequenceframerate"><strong>Animation Sequence Framerate</strong></h3> <p>The framerate of Animation Sequences is now displayed in the Animation Tools viewport and Content Browser tooltip.</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_10.png" /></div> <h3 id="enableautoblendoutonanimmontages"><strong>Enable Auto Blend Out on Anim Montages</strong></h3> <p>Anim Montages now have the option to enable or disable Auto Blend Out. This option is enabled by default, however you can disable it which won&#39;t auto blend out the Montage and will keep the last pose.</p> <p>Please see <a href="https://docs.unrealengine.com/en-US/engine/animation/animmontage/editor#montageproperties" target="_blank">Montage Properties</a> for more information.</p> <h3 id="ccdikskeletalcontrolnode"><strong>CCDIK Skeletal Control Node</strong></h3> <p>Use the new CCDIK (Cyclic Coordinate Descent Inverse Kinematics) Skeletal Control Node for a lightweight, IK algorithm suited for real-time calculation of relatively short IK chains, such as shoulder to fingertip.</p> <p>Please see <a href="https://docs.unrealengine.com/en-US/Engine/Animation/NodeReference/SkeletalControls/CCDIK" target="_blank">CCDIK</a> Skeletal Control Node for more information.</p> <h3 id="setmasterposecomponentforceupdate"><strong>Set Master Pose Component Force Update</strong></h3> <p>The <strong>Set Master Pose Component</strong> function has a second input pin called<strong> Force Update</strong> that can be used to skip updating all runtime info if that info is the same as the Master Component or force the updating of the runtime info. This only applies to the registration process as that can be serialized, at which point it will need to refresh all runtime data.</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_11.png" /></div> <p>Please see <a href="https://docs.unrealengine.com/en-us/Engine/Animation/Working-with-Modular-Characters#masterposecomponent" target="_blank">Master Pose Component</a> for more information.</p> <h3 id="miscellaneousimprovementsandupdates"><strong>Miscellaneous Improvements and Updates</strong></h3> <ul> <li>Live Animation Blueprint Recompilation is now non-experimental</li> <li>Local Space is now the default Coordinate Space for Animation Editors</li> <li>A notification is now displayed in the Animation Tools viewport when a min LOD is being applied.</li> </ul> <h2 id="new:gauntletautomationframework_earlyaccess_"><strong>New: Gauntlet Automation Framework (Early Access)</strong></h2> <p>The <strong>new early access Gauntlet automation framework</strong> enables you to automate the process of deploying builds to devices, running one or more clients and or/servers, and processing the results.</p> <p>You can create Gauntlet scripts that automatically profile points of interest, validate gameplay logic, check return values from backend APIs, and more! Gauntlet has been <strong>battle tested for months in the process of optimizing Fortnite</strong> and is a key part of ensuring it runs smoothly on all platforms.</p> <p>Gauntlet provides new profiling helpers that can record critical performance values between two points in time in order to track missed-Vsyncs, hitches, CPU Time, GPU Time, RHI Time, Draw Calls and more. Gauntlet also provides helper functions to gather these from logs so you can generate warnings, store them in databases, or create trend lines. All of the info captured during the test is available to be output into reports any way you want.</p> <p>An example of a simple report is shown below:</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_12.png" /></div> <p>Each Gauntlet test is a C# script that expresses a simple configuration for your test - how many clients, how many servers, and what parameters to pass. Gauntlet takes care of allocating machines from a pool, deploying and running builds, checking for common errors such as crashes, asserts, or timeouts, and collecting log files and other artifacts.</p> <h2 id="new:submixenvelopefollower"><strong>New: Submix Envelope Follower</strong></h2> <p>Users of the new Unreal Audio Engine can now set an Envelope Follower Delegate on their Submixes allowing amplitude analysis of individual channels for that submix. This will help users power visualizations and Blueprint Events based on the amplitude characteristics of their Submixed audio.</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_13.png" /></div> <h2 id="new:filtersoundsubmixeffect"><strong>New: Filter Sound Submix Effect</strong></h2> <p>Users of the new Unreal Audio Engine now have the option of adding a multimode filter to their Submixes allowing dynamic filter effects on a single Submix.</p> <p> </p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_14.png" /></div> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_15.png" /></div> <h2 id="new:soundsubmixeffectreverbdrylevel"><strong>New: Sound Submix Effect Reverb Dry Level</strong></h2> <p>The Submix Effect Reverb in the new Unreal Audio Engine now supports Parallel Wet and Dry Levels allowing users to dial in specific Wet/Dry ratios making the Effect usable as an Insert-Style Effect as well as a Send-Style Effect.</p> <h2 id="new:optimizationstosourceeffectapi"><strong>New: Optimizations to Source Effect API</strong></h2> <p>The Source Effect API in the new Unreal Audio Engine has been optimized to process a full buffer of audio rather than frame-by-frame. This will allow Source Effects to process more efficiently than before.</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_16.png" /></div> <h2 id="new:linuxdefaultstovulkanrenderer"><strong>New: Linux Defaults to Vulkan Renderer</strong></h2> <p>Linux now uses Vulkan as the default renderer when available. In the event the API cannot be initialized, the Engine will fall back OpenGL without notification.</p> <p>From the Project Settings, you can use the <strong>Target RHIs</strong> to add or disable a particular RHI or use command line switches <strong>-vulkan</strong> and <strong>-opengl4</strong> to disable the fallback.</p> <h2 id="new:linuxmediaplayer"><strong>New: Linux Media Player</strong></h2> <p>You can now use the bundled WebMMedia plugin to play back .webm VPX8/9 videos on Linux platforms.</p> <h2 id="new:linuxcrashreportclientgui"><strong>New: Linux Crash Report Client GUI</strong></h2> <p>We&#39;ve added support for the Crash Reporter GUI on Linux so you can help us continue to improve support for Linux platforms. Please submit reports when they occur, even repeated ones! It helps our engineers assess the frequency and learn what circumstances cause the crash to happen.</p> <h2 id="new:professionalvideoi/oimprovements_earlyaccess_"><strong>New: Professional Video I/O Improvements (Early Access)</strong></h2> <p>We continue to make it easier to get video feeds into and out of the Unreal Editor over professional quality SDI video cards. You can now work with the same Unreal Engine Project across multiple computers with different hardware setups, without changing any configuration settings in the Project.</p> <p>Create a MediaProfile on each machine, and set it up to handle the video card and formats that you need to use on that computer. You can also override the Project&#39;s timecode and genlock sources from the same panel:</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_17.png" /></div> <p>When you combine the Media Profile with the new Proxy Media Source and Proxy Media Output Asset types, you can automatically redirect input and output channels between the Project&#39;s media content and the settings in your Media Profile. When you switch to a different Media Profile — for example, on a different computer with a different media card or different wiring setup — the input and output channels from that machine&#39;s hardware are automatically routed through the proxies so that you don&#39;t have to change any content in your Project.</p> <p>For details, see <a href="https://docs.unrealengine.com/en-us/Engine/ProVideoIO/MediaProfiles" target="_blank">Using Media Profiles and Proxies</a> .</p> <p>In addition, this release adds:</p> <ul> <li>A dockable Timecode Provider panel (<strong>Window > Developer Tools > Timecode Provider</strong>) that shows the Unreal Engine&#39;s current timecode and the source that timecode is coming from: <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_18.png" /></div> </li> <li>Support for 10-bit input, audio I/O and interlaced/PsF inputs.</li> <li>A new <strong>Blackmagic Media Player</strong> Plugin that supports SDI cards from Blackmagic Design. See the <a href="https://docs.unrealengine.com/en-us/Engine/ProVideoIO/BlackmagicQuickStart" target="_blank">Blackmagic Video I/O Quick Start</a> .</li> </ul> <p><strong>Note</strong>: The AJA Media Player and Blackmagic Media Player Plugins are now available through the Marketplace tab in the Epic Games Launcher, instead of being installed automatically with the Unreal Engine. Their source is freely available <a href="https://github.com/ue4plugins" target="_blank">on GitHub</a> , to give other developers a model of how to develop video I/O plugins on top of the Engine&#39;s Media Core APIs.</p> <h2 id="new:geographicallyaccuratesunpositioning_earlyaccess_"><strong>New: Geographically Accurate Sun Positioning (Early Access)</strong></h2> <p>In the real world, the sun&#39;s position in the sky depends on the latitude and longitude of the viewer, the date, and the time of day. You can now use the same mathematical equations to govern the sun&#39;s position in your Unreal Engine Level.</p> <p>This is particularly effective any time you need to simulate the real-world lighting conditions for a specific place on the Earth, such as for a major architectural or construction project. However, this can also be useful for any Level that you want to exhibit realistic sun movements and positioning based on global position and time of day.</p> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/g-JqbYhLInk" width="100%"></iframe></div> <p>For details, see <a href="https://docs.unrealengine.com/en-us/Root/Engine/Rendering/LightingAndShadows/SunPositioner" target="_blank">Geographically Accurate Sun Positioning</a> .</p> <h2 id="new:staticmeshprocessing"><strong>New: Static Mesh Processing</strong></h2> <p>We have added several new Static Mesh processing options inside the Unreal Editor. You can now save memory by removing unnecessary UV mappings from your Static Meshes.</p> <p>In addition, using Python and Blueprint scripts that you run inside the Unreal Editor, you can now:</p> <ul> <li>Create UV mappings with planar, box, and cylindrical projections. See <a href="https://docs.unrealengine.com/en-us/Editor/Content/Types/StaticMeshes/HowTo/UVChannels" target="_blank">Working with UV Channels</a> .</li> <li>Run the Proxy Geometry tool to merge and simplify groups of Static Meshes in a Level. See <a href="https://docs.unrealengine.com/en-us/Engine/ProxyGeoTool/ProxyGeomScripting" target="_blank">Using the Proxy Geometry Tool in Blueprints and Python</a> .</li> <li>Reuse an LOD from one Static Mesh as an LOD for another Static Mesh. See <a href="https://docs.unrealengine.com/en-us/Editor/Scripting-and-Automating-the-Editor/Editor-Scripting-How-Tos/Creating-Levels-of-Detail-in-Blueprints-or-Python#reusingalodfromanotherstaticmesh" target="_blank">Creating Levels of Detail in Blueprints and Python</a> .</li> </ul> <h2 id="new:blueprintusabilityimprovements"><strong>New: Blueprint Usability Improvements</strong></h2> <p>The Blueprint Graph editor now features "Quick Jump" navigation enhancing the existing bookmark feature by enabling users to save their current location and zoom level in the Blueprint Editor with CTRL + [0-9]. They can then quickly return to that graph at that location and zoom level by pressing SHIFT + [0-9] whenever the Blueprint editor window is open, even when working in a different Blueprint Asset. "Quick Jump" bookmarks persist across Editor sessions, and are local to the user/machine.</p> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/z08EzuJ9gkI" width="100%"></iframe></div> <p>Users now have the ability to insert pins before or after a target pin for Sequence nodes via the context menu, rather than only being able to add them onto the end.</p> <p>Monolithic engine header file exclusion from nativized Blueprint class C++ code is now available as a Project Setting. This can help to reduce the overall code size of the monolithic game EXE file, if code size is an issue. The option can be found at Project Settings->Packaging in the "Advanced" section under the "Blueprint Nativization Method" option. This option is disabled by default to maintain compatibility with existing objects.</p> <h2 id="new:improvementstohtml5templates"><strong>New: Improvements to HTML5 Templates</strong></h2> <p>HTML5 projects now use separate HTML, JavaScript, and CSS templates replacing the previous monolithic template file! Custom template files are also supported on a per-project basis:</p> <p>Copy:</p> <pre class="prettyprint"> <code>.../Engine/Build/HTML5/GameX.*.template</code></pre> <p>To:</p> <pre class="prettyprint"> <code>[project]/Build/HTML5/.</code></pre> <p>The build process will automatically pick the project&#39;s path or otherwise fallback to the Engine&#39;s version.</p> <p>This is based on GitHub PR#4780.</p> <h2 id="new:html5readmefilesupdated"><strong>New: HTML5 README Files Updated</strong></h2> <p>The HTML5 README file has been split up into multiple README files based on category:</p> <ul> <li><a href="https://github.com/nickshinpho/UnrealEngine/blob/dev-mobile-MT/Engine/Extras/ThirdPartyNotUE/emsdk/README.0.building.UE4.HTML5.md" target="_blank">Building UE4 HTML5</a> <ul> <li>Get Source Files</li> <li>Compiling Support Programs</li> <li>Compiling UE4 Editor</li> <li>Run UE4 Editor</li> <li>Package The Project For HTML5</li> <li>Test The HTML5 Packaged Project</li> </ul> </li> <li><a href="https://github.com/nickshinpho/UnrealEngine/blob/dev-mobile-MT/Engine/Extras/ThirdPartyNotUE/emsdk/README.1.debugging.UE4.HTML5.md" target="_blank">Debugging UE4 HTML5</a> <ul> <li>How To Dump The Stack And Print From Cpp</li> <li>BugHunting GLSL</li> </ul> </li> <li><a href="https://github.com/nickshinpho/UnrealEngine/blob/dev-mobile-MT/Engine/Extras/ThirdPartyNotUE/emsdk/README.2.emscripten.and.UE4.md" target="_blank">Emscripten and UE4</a> <ul> <li>EMSDK</li> <li>Emscripten toolchain and Thirdparty libraries</li> <li>UE4 C# scripts</li> <li>Test Build, Checking In, and CIS</li> </ul> </li> </ul> <h2 id="new:improvedipv6support"><strong>New: Improved IPv6 Support</strong></h2> <p>Support for IPv4 and IPv6 has been merged into a single socket subsystem, where previously support for each protocol was isolated to a specific subsystem. This allows platforms that used one of the BSD subsystems to support both IPv4 and IPv6 at the same time, and do it transparently to the calling code.</p> <h2 id="new:ddosdetectionandmitigation"><strong>New: DDoS Detection and Mitigation</strong></h2> <p>DDoS (distributed denial of service) attacks typically hinder game servers by flooding them with so many packets, that they are unable to process all of the packets without locking up and/or drowning out other players&#39; packets, causing players to time out or to suffer severe packet loss which hinders gameplay.</p> <p>Typically these attacks use spoofed UDP packets, where the source IP is unverifiable. This optional DDoS detection focuses specifically on this situation, detecting/mitigating DDoS attacks based on configurable thresholds of spoofed UDP packets, which do not originate from an existing, known client connection. This is not a guarantee that servers will be safe from all attacks, since it&#39;s still possible that a heavy attack can overwhelm the hardware or OS running the server.</p> <h2 id="new:physicsinterfaceupdates"><strong>New: Physics Interface Updates</strong></h2> <p>The Physics Interface has been refactored to support an increased ownership of physics objects at the high level. As a consequence of these changes, we have deprecated the Async Scene which was only recommended for use with APEX Destruction. You can still achieve the same visual results using the Sync Scene.</p> <p>As a result of these changes, much of the physics related C++ code API has changed. Functionally the API is the same and you should be able to use it very similarly to how you currently use it. We&#39;ve made changes to the Physics Interface with the goal of a) reorganizing dependencies into one controlled place, and b) creating a common model for physics interactions when interacting with Unreal.</p> <p>Please see <a href="https://docs.unrealengine.com/en-us/Engine/Physics/Physics421_Technical_Notes" target="_blank">4.21 Physics Technical Notes</a> for more information.</p> <h2 id="new:pipelinestateobject_pso_caching"><strong>New: Pipeline State Object (PSO) Caching</strong></h2> <p>We now support Pipeline State Object (PSO) Caching on Metal (iOS/Mac), DX12 and Vulkan platforms. PSO caching helps reduce any hitches your project might encounter when a Material requires a new Shader to be compiled. PSO Caching creates a list of all the needed Shaders that are required by the Materials which is then used to help speed up the compiling process of these Shaders when they are first encountered by your project. PSO Caching can be enabled in the Project Settings > Packaging section.</p> <p>To find out more information about how to setup and use PSO caching in your UE4 project, make sure to check out the <a href="https://docs.unrealengine.com/en-US/Engine/Rendering/PSO-Caching" target="_blank">PSO Caching </a> documents.</p> <h2 id="new:physicallightingunitsupdates"><strong>New: Physical Lighting Units Updates</strong></h2> <p>We have improved the workflow and usability for Physical Lighting Units based on feedback provided by the community. As part of these updates, the following changes have been made:</p> <ul> <li>All light types now display their units type next to the Intensity value.</li> <li>Directional Lights are now displayed in LUX with increased intensity range.</li> <li>Sky Light intensity is now displayed in cd/m2 with increased intensity range.</li> <li>Post Process Auto-Exposure settings can be expressed in EV-100 for an extended range of scene luminance. This can be enabled via Project Settings.</li> <li>The Pixel Inspector can now display pre-exposure for Scene Color. This can be enabled via Project Settings.</li> <li>HDR (Eye Adaptation) Visualization has been refactored in the following ways: <ul> <li>HDR Analysis picture-in-picture display over the current scene view allowing adjustments with instant feedback.</li> <li>Visualization is now expressed in EV100.</li> <li>Pixel Inspector-like feedback has been removed.</li> </ul> </li> </ul> <p>For additional information, see <a href="https://docs.unrealengine.com/en-us/Engine/Rendering/LightingAndShadows/PhysicalLightUnits" target="_blank">Physical Lighting Units</a> .</p> <h2 id="new:sequencereventtrack"><strong>New: Sequencer Event Track</strong></h2> <p>The Sequencer Event Track has been completely refactored so that Events are now more tightly coupled to Blueprint graphs which makes it a much more familiar user-experience and more robust. By utilizing Blueprints and Interfaces, this offers better control and stability compared to the previous implementation which used struct payloads and anonymous named events.</p> <p>Please see <a href="https://docs.unrealengine.com/en-us/Engine/Sequencer/Workflow/Event_Track_Overview" target="_blank">Event Track Overview</a> and <a href="https://docs.unrealengine.com/en-us/Engine/Sequencer/HowTo/TracksEvent" target="_blank">Calling Events through Sequencer</a> for more information.</p> <h2 id="new:geometrycachetrack_experimental_"><strong>New: Geometry Cache Track (Experimental)</strong></h2> <p>The new (and experimental) <strong>Geometry Cache Track</strong> allows you to scrub through a Geometry Cache and render it out with frame accuracy.</p> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/54_sUqaI210" width="100%"></iframe></div> <p>Please see <a href="https://docs.unrealengine.com/en-us/Engine/Sequencer/HowTo/GeometryCacheTrack" target="_blank">Using the Geometry Cache Track</a> for more information.</p> <h2 id="new:sequenceraudiobakedown_earlyaccess_"><strong>New: Sequencer Audio Bakedown (Early Access)</strong></h2> <p>You can now bake down the audio into a Master Audio Submix from the Render Movie Settings window. The process of baking audio occurs in a separate render pass and exports the audio in the sequence to a single file when you render a movie.</p> <p>Please see <a href="https://docs.unrealengine.com/en-us/Engine/Sequencer/Workflow/Render-Movie-Settings" target="_blank">Render Movie Settings</a> for more information.</p> <h2 id="new:sequencerguidemarks"><strong>New: Sequencer Guide Marks</strong></h2> <p>You can now lay down vertical guide marks on the timeline to use for snapping or identifying key points in your timeline.</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_22.gif" /></div> <p>Please see <a href="https://docs.unrealengine.com/en-us/Engine/Sequencer/HowTo/FrameMarkers" target="_blank">Using Frame Markers in Sequencer</a> for more information.</p> <h2 id="new:windowsmixedrealitysupport"><strong>New: Windows Mixed Reality Support</strong></h2> <p>Unreal Engine 4 now natively supports the Windows Mixed Reality (WMR) platform and headsets, such as the HP Mixed Reality headset and the Samsung HMD Odyssey headset. To use our native WMR support, you must be on the April 2018 Windows 10 update or later, and have a supported headset. For more information on how to get up and running, see <a href="https://docs.unrealengine.com/en-us/Platforms/VR/WMR" target="_blank">Windows Mixed Reality Development</a> .</p> <p> </p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_23.png" /></div> <p> </p> <p style="text-align: center;"><em>Image courtesy of HP</em></p> <h2 id="new:magicleapqualifieddeveloperreleasesupport"><strong>New: Magic Leap Qualified Developer Release Support</strong></h2> <p>Unreal Engine 4 now supports all the features needed to develop complete applications on Magic Leap&#39;s Lumin-based devices. We support rendering, controller support, gesture recognition, audio input/output, media, and more. For more information on how to be become a developer, please check out <a href="https://www.magicleap.com/" target="_blank">https://www.magicleap.com/</a> .</p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_24.png" /></div> <h2 id="new:oculusavatars"><strong>New: Oculus Avatars</strong></h2> <p>The Oculus Avatar SDK includes an Unreal package to assist developers in implementing first-person hand presence for the Rift and Touch controllers. The package includes avatar hand and body assets that are viewable by other users in social applications. The first-person hand models and third-person hand and body models supported by the Avatar SDK automatically pull the avatar configuration choices the user has made in Oculus Home to provide a consistent sense of identity across applications. For more information, see the <a href="https://developer.oculus.com/documentation/avatarsdk/latest/" target="_blank">Avatar SDK Developer Guide</a> .</p> <h2 id="new:roundrobinocclusions"><strong>New: Round Robin Occlusions</strong></h2> <p>Unreal Engine 4 now supports Round Robin Occlusions. With the newly added <em>vr.RoundRobinOcclusion</em> flag enabled, stereoscopic frames will kick off occlusion queries for one eye per frame using an alternating scheme (i.e. odd frames only kick off queries for the left eye, and even frames only kick off queries for the right). This approach cuts the number of occlusion draw calls per frame by half. In some situations, this improves performance significantly.</p> <h2 id="new:platformsdkupgrades"><strong>New: Platform SDK Upgrades</strong></h2> <p>In every release, we update the Engine to support the latest SDK releases from platform partners.</p> <p> </p> <div style="text-align: center;"><img src="https://docs.unrealengine.com/Portals/0/SharedImages/Support/Builds/ReleaseNotes/4_21/image_25.jpg" /></div> <p> </p> <ul> <li><strong>IDE Version the Build farm compiles against</strong> <ul> <li><strong>Visual Studio:</strong> Visual Studio 2017 v15.6.3 toolchain (14.13.26128) and Windows 10 SDK (10.0.12699.0) <ul> <li>Minimum supported versions <ul> <li>Visual Studio 2017 v15.6</li> <li>Visual Studio 2015 Update 3</li> </ul> </li> </ul> </li> <li><strong>Xcode:</strong> Xcode 9.4</li> </ul> </li> <li><strong>Android: </strong> <ul> <li>Android NDK r14b (New CodeWorks for Android 1r7u1 installer will replace previous CodeWorks on Windows and Mac; Linux will use 1r6u1 plus modifications)</li> </ul> </li> <li><strong>HTML5:</strong> Emscripten 1.37.19</li> <li><strong>Linux "SDK" (cross-toolchain):</strong> <ul> <li>v12_clang-6.0.1-centos7</li> </ul> </li> <li><strong>Lumin: </strong>0.16.0</li> <li><strong>Steam:</strong> 1.39</li> <li><strong>SteamVR:</strong> 1.39</li> <li><strong>Oculus Runtime:</strong> 1.28</li> <li><strong>Switch:</strong> <ul> <li>SDK 5.3.0 + optional NEX 4.4.2 (Firmware 5.0.0-4.0)</li> <li>SDK 6.4.0 + optional NEX 4.6.2 (Firmware 6.0.0-5.0)</li> <li>Supported IDE: Visual Studio 2017, Visual Studio 2015</li> </ul> </li> <li><strong>PS4:</strong> <ul> <li>6.008.001</li> <li>Firmware Version 6.008.021</li> <li>Supported IDE: Visual Studio 2017, Visual Studio 2015</li> </ul> </li> <li><strong>Xbox One:</strong> <ul> <li>XDK: June 2018 QFE-4</li> <li>Firmware Version: June 2018 (version 10.0.17134.4056)</li> <li>Supported IDE: Visual Studio 2017</li> </ul> </li> <li><strong>macOS:</strong> SDK 10.14</li> <li><strong>iOS:</strong> SDK 12</li> <li><strong>tvOS:</strong> SDK 12</li> </ul> <section id="cmsSection">To view the full list of release notes, visit our <a href="https://forums.unrealengine.com/unreal-engine/announcements-and-releases/1547816">forum</a> or <a href="https://docs.unrealengine.com/en-US/Builds/4_21">documentation</a> pages.</section> newscommunityvrarblueprintsenterprisefeaturesmobileJeff WilsonWed, 07 Nov 2018 14:00:00 GMThttps://www.unrealengine.com/blog/unreal-engine-4-21-releasedhttps://www.unrealengine.com/blog/unreal-engine-4-21-releasedUpgrading Quality within a Fast Turnaround: “ICI Laflaque” Gets an Unreal FaceliftVox Populi Productions, the team behind award-winning political satire show <a href="https://www.facebook.com/ICILaflaque/" target="_blank">ICI Laflaque</a>, is no stranger to breakneck speeds in production. The half-hour animated show, much of it newly produced each week based on recent news, has had a 7-day turnaround time for 15 years.<br /> <br /> <img alt="blog_body_img1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fupgrading-quality-within-a-fast-turnaround-ici-laflaque-gets-an-unreal-facelift%2Fblog_body_img1-1640x1000-01f242f47d2a03e370d85c53e83c2aeb7e32e9df.jpg" width="100%" /><br /> <br /> For the 2018-2019 season, the team decided to upgrade the show’s look with a transition to an Unreal Engine pipeline using Sequencer Editor for importing Camera Switcher data from MotionBuilder, changing material parameters or trigger events, and a host of other UE4 features. You can read all about the show’s switch to Unreal Engine in the new whitepaper <a href="https://cdn2.unrealengine.com/Unreal+Engine%2Fresources%2FLaflaque_whitepaper11.16.18-e0d9e5c363e71dac83fc4439b89b9cf2c77d4d24.pdf" target="_blank">ICI Laflaque: Broadcast quality within a tight timeline</a>.<br /> <br /> ICI Laflaque (translation: Here is Laflaque) centers around a Quebecois news show hosted by fictional character G&eacute;rard D Laflaque. The French-language show, which airs every week on the ICI T&eacute;l&eacute; Radio-Canada network, hilariously comments on the news through both fictional and reality-based characters.<br />   <br /> <img alt="blog_body_img2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fupgrading-quality-within-a-fast-turnaround-ici-laflaque-gets-an-unreal-facelift%2Fblog_body_img2-1640x1000-c976626c53057bb3b061cfc323847db23f70cb68.jpg" width="100%" /> <div style="text-align: center;"><em>Singer C&eacute;line Dion takes an editorial stance</em></div> <br /> In the whitepaper, Montreal-based Vox Populi Productions details how they switched to Unreal Engine for the 2018-2019 season, which began in September.<br />   <br /> <img alt="blog_body_img3.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fupgrading-quality-within-a-fast-turnaround-ici-laflaque-gets-an-unreal-facelift%2Fblog_body_img3-1640x1000-b7f02889bb0361c5b2f3f2e1d940682284cd4560.jpg" width="100%" /> <div style="text-align: center;"><em>Comparison of quality with original pipeline at left, Unreal Engine at right</em></div> <br /> To see the difference with all Unreal Engine has to offer, <a href="https://www.unrealengine.com/en-US/what-is-unreal-engine-4" target="_blank">try out Unreal Engine</a> for yourself! Also check out <a href="https://www.unrealengine.com/studio">Unreal Studio</a>, a suite of tools for importing 3ds Max, SketchUp, Revit and CAD models to Unreal Engine.enterprisefeaturesfilm and televisionnewsDavid HurtubiseFri, 16 Nov 2018 21:00:00 GMThttps://www.unrealengine.com/blog/upgrading-quality-within-a-fast-turnaround-ici-laflaque-gets-an-unreal-facelifthttps://www.unrealengine.com/blog/upgrading-quality-within-a-fast-turnaround-ici-laflaque-gets-an-unreal-faceliftSail with Unreal Engine Throughout the Mediterranean this NovemberHello again, Unreal Engine developers! We are excited to let you know that we will be traveling throughout the Mediterranean very soon to experience your amazing projects and meet you in person. Following up on <a href="https://www.unrealengine.com/en-US/blog/celebrating-unreal-engine-developers-throughout-europe" target="_blank">our trip to Milan Games Week last month</a>, we’ve decided to visit the developer communities in Italy, France and Spain where we can&#39;t wait to meet new friends and witness the diversity and quality of your projects!<br /> <br /> We will be present in four cities this November and host various gatherings and technical sessions on Unreal Engine.<br /> <br /> We hope you’ll join us at one of our many events and feel free to chat with us as we are here to support and help you however we can! <h2>BONJOUR LYON!  </h2> <img alt="UE_Lyon2018.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fsail-with-unreal-engine-throughout-the-mediterranean-this-november%2FUE_Lyon2018-950x317-8d4ad1b937bdc90b97632e32819372e449ace473.jpg" width="100%" /><br /> <br /> Our first stop will be in Lyon, France where we will co-host an Unreal Engine evening together with <a href="https://lyongamedev.pro/" target="_blank">Lyon Game Dev</a> on November 19. During this free event, Sjoerd De Jong and Mario Palmero will share the latest news about Unreal Engine and demonstrate building gameplay effects and fog in engine. Free refreshments and snacks will be available during the event. Hurry up and RSVP <a href="https://www.eventbrite.com/e/lyon-unreal-engine-evening-tickets-52443944249" target="_blank">here</a>.<br />   <h2>HOLA BARCELONA!</h2> <img alt="UE_Barcelona2018.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fsail-with-unreal-engine-throughout-the-mediterranean-this-november%2FUE_Barcelona2018-950x317-66157a73727aef390723b4eb8b0c1c5f339f93e2.jpg" width="100%" /><br /> <br /> On November 21, we are heading to Barcelona, Spain, where in cooperation with the <a href="https://enti.cat/en/" target="_blank">University of Barcelona</a>, Sjoerd and Mario will discuss the ‘State of Unreal’ and provide attendees with a technical deep dive into the engine itself. Our friends from <a href="https://novarama.com/" target="_blank">Novarama</a> will share insights into their usage of UE4 as well. More information and registration can be found <a href="https://www.eventbrite.com/e/unreal-engine-evening-in-barcelona-tickets-52403721943" target="_blank">here</a>.<br />   <h2>CIAO ROMA!</h2> <img alt="GameRome2018.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fsail-with-unreal-engine-throughout-the-mediterranean-this-november%2FGameRome2018-770x257-80a5af4b50858533cc342f880be0f4659324cfd8.jpg" width="100%" /><br /> <br /> Meanwhile, Milena Koljensic and Joseph Azzam will be visiting Rome, where they will participate in <a href="https://www.gamerome.com/" target="_blank">Gamerome</a>, from November 21-23. To see their sessions, please view speaker agenda <a href="https://www.gamerome.com/speakers/" target="_blank">here</a>.<br /> <br /> <img alt="UE_PizzaMixer.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fsail-with-unreal-engine-throughout-the-mediterranean-this-november%2FUE_PizzaMixer-950x318-f2e4a0d39e0dc6cac6256e4cbfafb676c043dcaf.jpg" width="100%" /><br /> <br /> And, if somehow you manage to miss our team during the conference, we have an Unreal Engine Mixer with free pizza on November 23! More info can be found <a href="https://www.eventbrite.com/e/unreal-engine-pizza-mixer-tickets-52352478673" target="_blank">here</a>. <br /> <br /> <img alt="UE_Rome2018.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fsail-with-unreal-engine-throughout-the-mediterranean-this-november%2FUE_Rome2018-950x331-2ab4e64e640cd9479ee0da31806a79ed1a5094ce.jpg" width="100%" /><br />   <br /> We are also supporting the <a href="https://www.meetup.com/Unreal-Engine-Meetup-Rome/" target="_blank">Rome Unreal Engine Meetup Group</a> and their local community, as we believe they are truly epic! We are eager to meet awesome people, check out their projects and host a Q&A session! Thank you for inviting us! Register <a href="https://www.meetup.com/Unreal-Engine-Meetup-Rome/events/256265412/" target="_blank">here</a>. <h2>HOLA MADRID!</h2> <img alt="UE_Madrid2018.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fsail-with-unreal-engine-throughout-the-mediterranean-this-november%2FUE_Madrid2018-950x317-33da865a2978847cda1e022105eab9eeefaab5bf.jpg" width="100%" />  <br /> Our last gathering in the Mediterranean will be held in Madrid, Spain on November 27. With the help of the fascinating Madrid developer community, we would like to invite you to join Sjoerd and Mario at <a href="https://www.loomhuertas.es/" target="_blank">Loom House Huertas</a>. The evening will be filled with inspiring talks and great opportunities to network, as well as free drinks and meals! For more info and to register to go <a href="https://www.eventbrite.com/e/unreal-engine-evening-in-madrid-tickets-50776080624" target="_blank">here</a>. <br /> <br /> <strong>Questions?</strong><br /> <br /> We are always here to help you, so if you have any questions regarding these events or how to get in touch with us, please connect with Sjoerd (<a href="https://twitter.com/Hourences" target="_blank">@Hourences</a>) directly on Twitter or <a href="http://twitter.com/unrealengine" target="_blank">@UnrealEngine</a>.<br /> <br /> We can’t wait to see you soon in Southern Europe!<br /> <br /> <strong>More November tours where you can meet our UE Evangelists:</strong><br /> <br /> <a href="https://devgamm.com/minsk2018/" target="_blank">DevGamm Minsk</a>, Belarus 15.11-16.11<br /> <a href="https://www.meetup.com/UnrealEngine-Turkey/?_xtd=gqFyqTE5NzAzNTg3MaFwp2FuZHJvaWQ&amp;from=ref" target="_blank">Unreal Engine Meetup</a>, Istanbul, Turkey TBAcommunitynewsMilena KoljensicFri, 16 Nov 2018 17:00:00 GMThttps://www.unrealengine.com/blog/sail-with-unreal-engine-throughout-the-mediterranean-this-novemberhttps://www.unrealengine.com/blog/sail-with-unreal-engine-throughout-the-mediterranean-this-novemberHow Survios' Creed: Rise to Glory Revolutionizes VR Melee Combat<a href="https://survios.com/" target="_blank">Survios</a> has been one of the most successful pioneers in the VR space. The Los Angeles-based developer has an impressive resume of critically-acclaimed VR games such as <a href="https://survios.com/rawdata" target="_blank">Raw Data</a> and <a href="https://survios.com/sprintvector" target="_blank">Sprint Vector</a>. With its most recent release, <a href="https://survios.com/creed" target="_blank">Creed: Rise to Glory</a>, garnering a ton of praise, the studio has not only created one of the best VR boxing games, but one of the best boxing games period. We recently had the chance to interview several members from the team, and in this post, Survios explains how they were able to solve many hard VR problems while producing a knockout title.<br /> <br /> <strong>Feeling the Friction</strong><br /> <br /> Even though VR can offer unparalleled levels of immersion, clipping through opponents when you&#39;re punching through them can be an immersion breaker. It&#39;s a difficult problem to solve; after all, your opponents aren&#39;t really in front of you to provide friction and resistance. This is why many other VR games avoid melee mechanics and instead rely on gunplay and archery for combat.  <div style="text-align: center;"><img alt="ScrapsKO_Watermarked.gif" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-survios-creed-rise-to-glory-revolutionizes-vr-melee-combat%2FScrapsKO_Watermarked-50b882ad54057ef235010dab796ef8fd2f45ba58.gif" width="100%" /></div> <br /> To overcome this issue, Survios needed to revolutionize melee for VR. Setting the stage, Lead Survios Engineer Eugene Elkin stated, "In our initial prototype, we set out two goals for ourselves: punching had to feel great and getting punched had to be impactful. We decided right away that the game would not be a straight boxing simulator, but a cinematic-inspired boxing experience. Despite a relatively compressed prototyping timeline, we were still able to create multiple gameplay iterations. The result of that investigation stage was the set of technological rules and techniques we dubbed &#39;Phantom Melee Technology&#39;." <br /> <br /> Explaining how the system overcomes melee clipping issues, Elkin elaborated, "At all times, there are essentially two separate player avatars that are contextually synced/desynced. One avatar is the representation of the player&#39;s character and is bound by in-game physics like collision, hit reactions, and knockdowns. The second avatar—codenamed ‘Phantom’—always represents the player’s true position." This separation is quite ingenious as it allows players to punch through opponents without ever feeling like you&#39;re awkwardly clipping through them. <br /> <br /> <img alt="Sporino_sweat_watermark_1080.png" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-survios-creed-rise-to-glory-revolutionizes-vr-melee-combat%2FSporino_sweat_watermark_1080-1080x608-06c5c36bf8aac5b3ebeef7020a0d641b1ff4ad53.png" width="100%" /><br /> <br /> Lead Designer Valerie Allen was inspired to develop this system after reading a sci-fi manga. As Allen explains, "There was a scene in one of the Battle Angel Alita volumes that involved her brain getting overclocked. In that scene, she zipped forward to deliver a punch, only to find herself crashing to the floor because her mental projection of what she was doing was so far ahead of what her body could handle. This is largely how Phantom Melee Technology works." <br /> <br /> Despite having separate avatars, combat never feels disjointed. Allen explains, "After playing around enough, players quickly start to acclimate, and rather than wasting their real-world effort punching through things, they start to treat the avatar’s arms more like their own, and thus react to the position of their virtual opponent like a real-life one."<br /> <br /> While Phantom Melee Tech solves one major VR issue, Survios still needed to deal with players that might try and “break” the game by constantly flailing their arms about, which is neither fun nor realistic to the sport, but may be effective. To solve this problem, Survios incorporates limited stamina. Allen elaborates on this design philosophy, "Throwing a lot of of rapid punches leads to the avatar getting tired, so the player must focus on defending until the avatar’s stamina recovers." The lead designer added, "The more we tested and tweaked stamina tuning, the more our gameplay started to look and feel like an actual boxing match." Those with outstanding real-life endurance may balk at the inclusion of a virtual stamina system, but Allen explains, "While the avatar may tire out more quickly than the player does, the player isn’t the one experiencing the debilitating effects of being punched in the face and gut." <br /> <br /> <strong>Meaningful Matchups </strong><br /> <br /> This inclusion of limited endurance also made online PvP more enjoyable. Elkin notes, "The stamina system became a very important tool to encourage players to block and defend, strategically deploy their punches wisely, and treat it like an actual boxing match." Even though Rise to Glory is not the first VR boxing game, it is the first VR boxing game to feature online play. Early on in development, Creed wasn&#39;t going to feature multiplayer, but Survios knew the package wouldn&#39;t feel complete without it. Adding online PvP to a melee-focused VR game while making it feel immersive and fun is extremely difficult. Elkin elaborates, "Unlike traditional fighting games where moves and abilities are predetermined, it’s extremely hard to predict how real-life players will behave in a PvP setting." This issue is heightened when you consider that Rise to Glory features full-body avatars. On the networking front, Multiplayer Engineer Eva Hopps added, "The biggest challenge we immediately knew we had to deal with was network lag. Since we couldn’t rely on the usual fighting game tricks to mask or compensate for it, we tweaked Phantom Melee’s fatigue-triggered slowing effect as our way of concealing lag from players." Even though incorporating online play while creating a new revolutionary VR combat system was no small task, Hopps mentioned that, "for the most part, Unreal made this pretty easy for us."<br /> <br /> <img alt="w(logos)-1080_Train.png" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-survios-creed-rise-to-glory-revolutionizes-vr-melee-combat%2Fw%28logos%29-1080_Train-1080x608-ba5bf0c302886aef83d8360c0997e3d728da150a.png" width="100%" /><br /> <br /> To ensure that the boxing felt realistic, Survios enlisted the help of professional boxers early on in development. Not only did the team heed their advice, but they signed up for boxing lessons. "To this day, we have boxing coaches come twice a week to our office for lessons, and that experience was invaluable for our designers and engineers in crafting a realistic boxing experience," Elkin explained, elaborating, "Our marketing team also worked with Buzzfeed to have an Olympic-level boxer, Mikaela Mayer, play the Career mode on the hardest difficulty setting, and she was <a href="https://www.youtube.com/watch?v=fU55mMwCuB8" target="_blank">blown away</a> at how similar the mechanics were to the real sport."<br /> <br /> <strong>Hitting Hard</strong><br /> <br /> To take the game&#39;s realism to the next level and to reward players who really get into the action, Rise to Glory leverages VR&#39;s accelerometers and motion sensors to track how hard players hit. Allen adds, "We check both the distance and speed of the player’s hand movements, and in some cases the angles as well. We tuned the values to require a reasonable amount of force to throw a punch, but not so much that players feel like they always have to punch as hard and fast as they possibly can for maximum impact." As a result, Creed ends up being a good workout that takes "shadow boxing" to the next level. Even recovering from a knock down requires players to exert physical energy to get back into the fight. While many past boxing games would often force players to quickly tap a button to recover, Rise to Glory does something wholly unique that gives players more agency than ever before. Allen explains, "I really liked the concept of the player getting hit so hard that they experience a sort of barely-conscious tunnel vision, and that it would require physical effort to run back to their body." Taking a page from the studios&#39; past VR racing game Sprint Vector, once players are knocked down for the count, they get shot out into a dark tunnel and must swing their arms to run back to their bodies. Considering you can hear the ref audibly count to 10 in the background, it provides a tremendous sense of urgency and heightens the experience in a fun way that only VR can deliver. <div style="text-align: center;"><img alt="Creed_KnockdownRecovery_Watermarked.gif" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-survios-creed-rise-to-glory-revolutionizes-vr-melee-combat%2FCreed_KnockdownRecovery_Watermarked-0aa076fcf74281c7ea9326fbf6c28ff973908923.gif" width="100%" /></div> <br /> While most VR games opt to render just virtual hands, as it can be really hard to figure out where your elbows, torso, and feet are with only three points of contact, to overcome this issue and render players&#39; full bodies, Survios wrote a lot of code to create believable inverse kinematics (IK). As Elkin notes, "The body IK system has gone through several iterations here at Survios. The current system is in active development and is shared among most of our projects, but is currently a custom animation solver that determines optimal joint location from three tracked inputs." The lead engineer added, "Luckily, Unreal makes it pretty simple to create new IK Solvers, which is extremely powerful for us."<br /> <br /> Considering the core Rise to Glory development team consisted roughly of nine developers, Survios has impressively been able to solve many difficult challenges with relatively little resources. Elkin attributes much of the success to the passion of his associates, "I’ve never worked on a more self-motivated team: everybody loved the project from the initial prototype and only wished we could have more time to continue working on it. While it may sound clich&eacute;, we truly were making a game that we wanted to play."  <div style="text-align: center;"><img alt="SwarmAttack_Watermarked.gif" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-survios-creed-rise-to-glory-revolutionizes-vr-melee-combat%2FSwarmAttack_Watermarked-20383f16a8ebd9d68b163e37a38f91262d9a0b7e.gif" width="100%" /></div> <br /> With this being Survios&#39; third Unreal Engine 4-powered VR game, Elkin also attributes much of the studio&#39;s success to improving upon an already strong UE4 foundation, "It’s extremely important for us to reuse technology between projects. Throughout the years and over the course of several projects, we have continued building out our custom toolset in UE4, and that has significantly sped up our dev cycles on new projects. Having access and the ability to change engine source code is also invaluable." Hopps added, "UE4 also makes it easy to move from project to product with a consistent set of tools, so nothing on our end feels like it’s changing drastically as the project evolves from prototype to retail-ready." <br /> <br /> In terms of specific tools, Elkin had high praise for UE4&#39;s debug stump allocator, "Unreal has great tools for tracking nasty memory stumps and analyzing performance." As a multiplayer engineer, Hopps praised UE4&#39;s <a href="https://docs.unrealengine.com/en-us/Engine/Performance/Profiler" target="_blank">Profiler</a> and noted how "amazingly easy it is to network things in Unreal."<br /> <br /> <strong>Continuing the Fight</strong><br /> <br /> While Rise to Glory marks Survios&#39; fourth VR title, Elkin asserts that we&#39;re just at the frontier of VR gaming. "I think that we’re experiencing a time similar to the pioneering days of the ’80s when game developers were exploring, experimenting, and trying basically everything for the first time," adding, "Right now, developers just don’t know for sure what will work or not in VR; all of the traditional knowledge of game development that has been acquired over decades is just not valid most of the time in VR development. VR is a unique beast and we’re just beginning to scratch its surface--but every day we discover something new, and it’s definitely a very exciting time to be developing in VR."<br /> <br /> <img alt="w(Logos)-1080_Victory.png" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-survios-creed-rise-to-glory-revolutionizes-vr-melee-combat%2Fw%28Logos%29-1080_Victory-1080x608-450b7b8b4ac0dcfa825423cef1679c0ed1409e75.png" width="100%" /><br /> <br /> Survios recently announced Creed: Rise to Glory’s first content update. Releasing November 27, the free update will feature two new free-play and PvP opponents: Danny “Stuntman” Wheeler and Viktor Drago. Both characters are the two primary antagonists from the upcoming Creed II film. For more information on Creed: Rise to Glory, make sure to visit <a href="https://survios.com/creed/" target="_blank">survios.com/creed</a>.<br /> <br /> If you&#39;re interested in creating your own VR game, you can <a href="https://www.unrealengine.com/en-US/release-notes" target="_blank">download Unreal Engine for free today</a>.gamesvrshowcaseJimmy ThangFri, 16 Nov 2018 16:30:00 GMThttps://www.unrealengine.com/blog/how-survios-creed-rise-to-glory-revolutionizes-vr-melee-combathttps://www.unrealengine.com/blog/how-survios-creed-rise-to-glory-revolutionizes-vr-melee-combatUnreal Engine Wins Technology & Engineering Emmy® for Animation ProductionThe National Academy of Television Arts and Sciences has awarded Epic Games with the first Technology and Engineering Emmy for Unreal Engine in the 2017-2018 category, “3D Engine Software for the Production of Animation.” We couldn’t be more thrilled with this recognition, and our sincere thanks go to all of the creatives around the world using Unreal Engine for live broadcast, virtual production and mixed reality programming. <br /> <br /> <img alt="FB_UE_Emmy.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Funreal-engine-wins-technical-and-engineering-emmy-for-animation-production%2FFB_UE_Emmy-1200x630-799c37cfabbe8a9cbee8de83910f9be379b1ec57.jpg" width="100%" /><br />  <br /> The milestone points to the benefits of Unreal Engine 4’s real-time rendering feature set, which eliminates the overlapping hurdles of time, budget and bandwidth in order to flexibly and efficiently integrate high-end graphics, VFX and CG animation into visual storytelling. Television professionals are using Unreal to produce photorealistic on-set graphics at high frame rates, which is impossible with other game engine technology. Using the director-level control and power of the tools, content creators are incorporating real-time CG elements into their programming at a level of complexity and quality that has been previously out of reach.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/IwIyla0xero" width="100%"></iframe></div> <br /> Rendering high-end graphics has traditionally been a time-consuming endeavor, limiting what graphic artists and studio engineers can achieve in television, particularly with live broadcasts such as event coverage and weather, where graphics are often inserted into broadcasts on the fly. With CG-animated episodic programming, Unreal Engine reduces or eliminates the need for a render farm resource, transforming workflows and unlocking more opportunities to iterate for a better final result.<br />   <div class="embed-responsive embed-responsive-16by9"> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/x2aCSV5zYlA" width="100%"></iframe></div> </div> <br /> An added opportunity afforded by Unreal Engine is the ability to use the same generated content across all mediums including web video, mobile, traditional linear production, live broadcast, VR and AR — all from one content pipeline.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/ipvzO5q4GpQ" width="100%"></iframe></div> <br /> Animated children’s TV show “ZAFARI” is the first broadcast television episodic series being rendered entirely using Unreal. When the series was picked up by NBC Universal, Digital Dimension set out to build a pipeline that could handle the rendering requirements for their vision of the show, including verdant jungle environments, flowing water, complex camera movements, and various visual effects. Once they began testing, they found that Unreal offered significant time savings over standard GPU-based rendering solutions, without compromising quality. Digital Dimension estimates that with Unreal, they have been able to realize a 300% increase in productivity for any given artist, not to mention cost savings. <br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/Mfqj3CFZyxU" width="100%"></iframe></div> <br /> NEP in The Netherlands has a dedicated team of 20 artists using Unreal, and they are investing heavily in real-time capabilities for their clients using virtual sets in both live broadcast and episodic production. As a result, NEP is delivering photorealistic virtual sets for stylishly produced news and sports broadcasts with little to no physical props. In broadcast studios that are LED-heavy, Unreal saves significant time and money as LEDs are practically free to create and populate digitally in a virtual set environment.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/ceddbBnl95s" width="100%"></iframe></div> <br /> House of Moves creates the all-CG “Barbie Vlog” YouTube series, which has generated tens of millions of views on YouTube, using a pipeline built on Unreal. The studio has been able to produce episodes at a fraction of the time and cost typically associated with render-intensive CG productions. In addition, Unreal’s real-time rendering capabilities have made it much easier to produce content in rapid response to today’s 24/7 news cycle. With the rendering speed afforded by Unreal, House of Moves is able to produce each episode from start to finish in under a week, with a team of just five people, with rendering all done on local desktop machines. This efficiency allows the show’s content to be dialed in to culturally relevant conversations, and provides cost savings on both staffing and compute resources.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/mLcjlRP0jrA" width="100%"></iframe></div> <br /> At NAB 2018, Unreal was integrated into multiple virtual set and real-time graphics workflow demos with Zero Density, NCam, HP, Intel, AMD (ARWall), Brainstorm, Chyron Hego, Avid, Ross Video, The Future Group, Zlense, mo-sys, ProCyc, Astuce, Stype and more. <br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/p9oDlvOV3qs" width="100%"></iframe></div> <br /> <br /> Thank you to the Academy for this wonderful accolade, and thanks again to our partners and creators who help Epic push Unreal Engine tools and features forward every day. We look forward to celebrating the achievements of the entire Unreal Engine community at the 70th Annual Technology & Engineering Emmy® Awards ceremony on April 7, 2019 in association with the National Association of Broadcasters (NAB) at the NAB Show in Las Vegas.newsfilm and televisionenterprisefeaturescommunitymrvrarDana CowleyThu, 15 Nov 2018 22:00:00 GMThttps://www.unrealengine.com/blog/unreal-engine-wins-technical-and-engineering-emmy-for-animation-productionhttps://www.unrealengine.com/blog/unreal-engine-wins-technical-and-engineering-emmy-for-animation-productionArchitectural Design Data: The Journey from Revit to Unreal Studio WebinarToday’s architectural designers are turning to bold new approaches for crafting compelling design visualizations. With clients wanting more interactivity and flexible options for design review, it makes sense that real-time solutions are becoming the format of choice for architects and designers looking to maintain a competitive edge.<br /> <br /> In our upcoming November 27 webinar, The Journey from Revit to Unreal Studio, you’ll experience collaborative design review in Unreal Engine and learn about all of the powerful real-time workflows available in Unreal Studio for visualizing Revit data. <br /> <br /> <img alt="LP_revitWebinarv1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Farchitectural-design-data-the-journey-from-revit-to-unreal-studio%2FLP_revitWebinarv1-990x600-5aa80ec8eccfc08c1e004047241735b892b668b7.jpg" width="100%" /><br /> <br /> Join design specialist Daryl Obert, as he guides you through the journey of bringing your high-definition Revit data into Unreal Engine using the time-saving tools in Unreal Studio. The demo will cover importing and working with Revit data in Unreal Studio as well as exploring invaluable features for collaboration and speeding up your workflows.<br /> <br /> You’ll learn:<br /> <br /> • How to use Unreal for design review and collaboration <br /> • Importing and working with Revit data with Unreal Studio<br /> • The benefits of using Metadata and scripting<br /> • How to use the 4.21 Collaboration template<br /> • And more!<br /> <br /> <a href="https://ue.unrealengine.com/Revit-to-Unreal.html" target="_blank">Register now</a> to reserve your spot for this online webinar! <br /> <br /> <img alt="LP_RevitWebinarv2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Farchitectural-design-data-the-journey-from-revit-to-unreal-studio%2FLP_RevitWebinarv2-990x600-f767553f2fcd0c6541645fba360f33e3b92f2ded.jpg" width="100%" />enterprisedesignlearningeducationvisualization and trainingKen PimentelThu, 15 Nov 2018 17:30:00 GMThttps://www.unrealengine.com/blog/architectural-design-data-the-journey-from-revit-to-unreal-studio-webinarhttps://www.unrealengine.com/blog/architectural-design-data-the-journey-from-revit-to-unreal-studio-webinarNFL RedZone Gets an Epic Face Lift<a href="http://www.nfl.com/redzonetv" target="_blank">NFL RedZone</a> is a live weekly program produced by NFL Network during the NFL regular season. Every Sunday afternoon, viewers are treated to live look-ins and commentary on all the NFL (National Football League) games happening that day, including every touchdown and other memorable plays.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/IwIyla0xero" width="100%"></iframe></div> <br /> The show, which has aired during every NFL regular season since 2009, is a hit with fans, especially those involved in <a href="https://en.wikipedia.org/wiki/Fantasy_football_(American)" target="_blank">fantasy football leagues</a>. Instead of endlessly flipping channels, viewers can essentially watch all the games at once on NFL RedZone.<br />   <br /> <img alt="blog_body_img1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnfl-redzone-gets-an-epic-face-lift%2Fblog_body_img1-1640x1000-f66e7fc98a79e5ba2bfa5ddceb5acc91bbaea3fb.jpg" width="100%" /><br /> <br /> Host Scott Hanson gives live commentary from behind his desk on a green screen while the show highlights all of the games that are in the red zone (near the goal line). As Hanson gives his commentary, <a href="https://www.rossvideo.com/products-services/acquisition-production/robotic-camera-systems/remote-cameras/" target="_blank">Ross Furio cameras</a> move around the set and the camera’s position, rotation, and zoom data get sent back to Unreal Engine to update the view of the virtual set in real-time, all while the show is broadcast live to viewers.<br /> <br /> While NFL RedZone has always aired live from a virtual set, this year the production team decided to upgrade to the superior real-time rendering offered by Unreal Engine. The show’s fresh new look debuted in late August of 2018 with preseason coverage, and has continued throughout the current season.<br /> <br /> <img alt="blog_body_img2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnfl-redzone-gets-an-epic-face-lift%2Fblog_body_img2-1640x1000-6576eedbf8e20e4b4b8f68f11d0309718c737070.jpg" width="100%" /><br /> <br /> <strong>Upgrading the Real-Time Set</strong><br /> <br /> NFL Network’s Real-Time Systems team first became aware of Unreal Engine’s rendering capabilities at the annual <a href="https://www.nabshow.com/" target="_blank">National Association of Broadcasters (NAB) conference</a>. “We saw what exhibitors were doing with Unreal, not just for sports coverage but for all kinds of executions using real-time rendering,” says Patrick Lee, Director, Real-Time Systems at NFL Network. “This signified to me that there had been a change in the marketplace for virtual sets. It became clear that Unreal could visually and stylistically give us much better results than the solution we’d been using.”<br /> <br /> The graphics team, led by Creative Director Carlos Aguero and Art Director Mario Vengoechea, redesigned the set and outsourced the building of the Unreal Engine project for real-time use. Starting with the 2018 season, an operator in the NFL RedZone control room uses built-in Unreal Engine Blueprints every week to update the current NFL Standings, highlight any NFL initiatives in the video wall, and swap out the set’s wall posters to reflect the top playmakers of the week. <br /> “We’re really excited to bring this viewing experience to our audience,” says Lee. “With Unreal, the set provides much more depth. Scott (Hanson) is virtually orchestrating the show from a downtown loft with huge windows and shiny hardwood floors. Lighting is streaming in from outside and from various objects on the set.”<br /> <br /> <img alt="blog_body_img3.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnfl-redzone-gets-an-epic-face-lift%2Fblog_body_img3-1640x925-b5cb3f208dde161290cd790e895523a33f16b27e.jpg" width="100%" /><br />  <br /> Lee adds that the show currently has three looks, one each for daytime, dusk, and nighttime. “The show starts in the daytime but goes until the last afternoon game is finished,” he says. “If we’re still on air at sundown, we switch to the nighttime set. Ultimately, we’d like to make one level that will change the time of day dynamically to reflect the true time of day.”<br /> <br /> <strong>The Future of NFL RedZone</strong><br /> <br /> The NFL RedZone production team has just scratched the surface with all the capabilities of Unreal Engine. Future plans include preparing interstitials, specialty graphics, or even show opens that can be updated instantly by an operator in the control room. “Instead of having to render it all out ahead of time, we could put these together on the fly with information pertinent to up-to-the-minute news,” says Lee.<br /> <br /> The team is also looking at building mixed reality experiences for big events like Super Bowl Opening Night, with names and statistics hovering over players while the camera pans the crowd and captures their reactions.<br /> <br /> “What I really like about UE is that it extends the illusion of virtual graphics, whether with a set or augmented reality,” says Lee. “For the viewer, that experience is going to be that much greater if the lines between reality and virtual graphics are more difficult to discern. The graphics can show content in context and seamlessly become an extension of the practical set.<br /> <br /> “I’m really looking forward to what the future holds for this technology. TV graphics in general could use a facelift to take it to the next level, and Unreal Engine can provide that.”<br /> <br /> To create your own great real-time virtual sets and environments, <a href="https://www.unrealengine.com/studio" target="_blank">download the free Unreal Studio beta</a> today and get Unreal Engine, import tools, and a whole lot more!blueprintsdesignfeaturesfilm and televisionnewsarCraig LaliberteThu, 15 Nov 2018 16:00:00 GMThttps://www.unrealengine.com/blog/nfl-redzone-gets-an-epic-face-lifthttps://www.unrealengine.com/blog/nfl-redzone-gets-an-epic-face-liftVirtual Production: Digital Domain Talks Digital Humans and MoreImagine a film set where completely photorealistic digital human avatars mirror the precise actions and expressions of the live actors playing their roles—all in a virtual space and in real time, at up to 90 fps. For directors, producers, and actors alike, this technology will be a huge game-changer, and it’s already being prototyped today.<br /> <br /> Digital humans are just one fascinating facet of the ever-evolving potential presented by virtual production. In the latest episode of the <strong>Visual Disruptors: Exploring the Future of Virtual Production</strong> podcast series, we hear from key figures at <a href="https://www.digitaldomain.com/" target="_blank">Digital Domain</a> about how game engines and real-time technologies are unlocking the doors to incredible new productivity and creativity in the world of film production.<br /> <br /> As the primer to the series, <a href="https://www.unrealengine.com/en-US/programs/virtual-production/what-is-virtual-production" target="_blank">episode one</a> of the podcast series covered the basics of what virtual production is, the impact it’s already having on film, and what the future could hold for emerging technology and techniques.<br /> <br /> In <a href="https://www.unrealengine.com/en-US/programs/virtual-production/digital-humans-actors-and-avatars-in-virtual-production" target="_blank">episode two</a>, <strong>Digital Humans: Actors and Avatars</strong>, FX Guide’s Mike Seymour (who has himself been <a href="https://www.fxguide.com/featured/real-time-mike/" target="_blank">digitally cloned</a> in the name of research) interviews Digital Domain’s Scott Meadows, Head of Visualization, and Doug Roble, Senior Director of Software R&D, about the studio’s trailblazing work in the area of virtual production and digital humans.<br /> <img alt="blog_body1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fvirtual-production-digital-domain-talks-digital-humans-and-more%2Fblog_body1-1600x820-618816834050a9227cf066e47ce2afd1682010a6.jpg" width="100%" /><br /> To kick things off, Meadows explains how the original toolset he assembled for previs on <em>Tron</em> is constantly evolving, as the capabilities of both graphics hardware and real-time engines advance to states that were unthinkable a few years ago. Having honed his tools and techniques on <em>Beauty and the Beast</em>, <em>Black Panther</em>, and <em>Ready Player One</em>, Meadows is now approaching a point where—instead of creating rough 3D models for previs and then throwing them away—assets can move through the pipeline from previs, to postvis, and right through to full VFX post-production. <h2><strong>Diving deep on digital humans</strong></h2> <br /> The director’s ability to see CG elements on set while shooting the live-action components is fundamentally liberating. But what if they could see the actual, final-quality CG characters reacting in real time to actors’ input, so they could judge the performance of the character, and not the actor? Or even take over the acting themselves to give direction?<br /> <br /> That’s what Roble set out to explore with his ‘Digital Doug’ project. He undertook to create a real-time, highest-resolution, markerless, minimally rigged, single-camera facial animation system (no small challenge!), using himself as the guinea pig. To achieve this, he had to combine several existing techniques with some proprietary special sauce, before turning to machine learning to complete the picture.<br /> <br /> First, ultra-high-resolution scans were taken in several poses at the <a href="http://gl.ict.usc.edu/LightStages/" target="_blank">USC Institute for Creative Technologies’ Light Stage</a>. These scans deliver incredible photorealism as still images, but have no temporal coherence—there’s no way to move from one pose to another without the textures swimming.<br /> <br /> Next, Roble turned to <a href="http://www.di4d.com/" target="_blank">Dimensional Imaging (DI4D)</a> to get scanned data of himself that was temporally coherent, albeit at a lower resolution. <br /> <br /> The third step saw Roble taking to Digital Domain’s traditional motion capture stage with his face adorned with 160 markers, to capture full-motion animation for a range of emotions and facial positions. But with only 160 vertices, the meshes this produced did not deliver sufficient resolution for photorealism. <br /> <br /> Not to be deterred, Roble was then able to use machine learning within Digital Domain’s own Masquerade software—<a href="https://www.awn.com/vfxworld/sympathy-devil-how-digital-domain-helped-create-thanos-avengers-infinity-war" target="_blank">first used</a> on <em>Avengers</em><em>: Infinity</em><em> War</em>—to take information from the Light Stage and DI4D scans and use it to up-res the motion capture data to 80,000 vertices. These high-resolution meshes could then be used to create blendshape rigs that animators could work with in a traditional manner.<br /> <img alt="fb_image-(5).jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fvirtual-production-digital-domain-talks-digital-humans-and-more%2Ffb_image-%285%29-1200x630-733bf51fdb7fcedcc4f9a9cbd1a2710945ff5120.jpg" width="100%" /><br /> But that’s not all the system could do. Roble was able to use it to create 20,000 pairs of very high-resolution images and meshes for a wide range of poses. The final step was to feed this data to machine learning algorithms, and use it to train the system. At the end of this training period, the system was able to compute the right combination of high-resolution textures and mesh for any live-action input at speeds as high as 90 fps. So whatever Doug does, digital Doug (or another CG character based on Doug) can now do too—in real time. And, not to be outdone, Unreal Engine is able to keep up with the rendering side of things.<br /> <br /> To hear the complete details of this truly groundbreaking new technique, listen to the podcast <a href="https://www.unrealengine.com/en-US/programs/virtual-production/digital-humans-actors-and-avatars-in-virtual-production" target="_blank">right here</a>. <h2><strong>Join the conversation</strong></h2> <br /> Are you a visual disruptor? Curious to delve deeper into virtual production? Join the conversation now. <a href="https://ue.unrealengine.com/Visual-Disruptors.html?utm_source=linkedin&amp;utm_medium=social&amp;utm_content=Oktopost-linkedin&amp;utm_campaign=Oktopost-UE+-+Enterprise" target="_blank">Subscribe here</a>, and we’ll send you an email when we post something new in this exciting series.<br /> <br /> Also, stop in at our new <a href="http://www.uevirtualproduction.com" target="_blank">virtual production hub</a> to catch up on more insightful articles, videos, and other content.<br /> <br />  film and televisioneducationenterprisenewsBrian PholWed, 14 Nov 2018 14:28:32 GMThttps://www.unrealengine.com/blog/virtual-production-digital-domain-talks-digital-humans-and-morehttps://www.unrealengine.com/blog/virtual-production-digital-domain-talks-digital-humans-and-moreHow Studio Wildcard’s ‘Extinction’ Expansion Evolves the ARK Franchise<a href="https://survivetheark.com/" target="_blank">ARK: Survival Evolved</a> has consistently been one of the most played games since it hit <a href="https://store.steampowered.com/app/346110/ARK_Survival_Evolved/" target="_blank">Steam</a> via Early Access in 2015. Now, with the release of the <a href="https://survivetheark.com/index.php?/articles.html/ark-extinction-expansion-pack-available-now-r1002/" target="_blank">ARK: Extinction Expansion Pack</a>, the team at Studio Wildcard has delivered new items, environments, creatures, and mechanics that further evolve the franchise. <br /> <br /> We recently had the chance to interview Chris Willoughby, Project Lead for ARK: Extinction, to learn more about how the game’s third expansion really mixes things up by taking the franchise to Earth. We also explore Extinction’s new Titan bosses, modes, and lore while finding out how the studio has grown over the years, how Pok&eacute;mon had a positive influence on the project and how Unreal Engine 4 has helped the team throughout the development process.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/uOH-IOA9qq0" width="100%"></iframe></div> <br /> <strong>Thank you for taking the time to chat with us about ARK: Extinction. What were some of the goals you set out to achieve with the expansion?</strong><br /> <br /> We are always looking to bring something new to the table with ARK. With Extinction, our goal was to introduce new mechanics and ideas that we have not been able to do before. Between the base game and two previously released expansion packs, we have created a vast amount of content for ARK players so far. So creating something completely fresh and unique can be a challenge. We think we have a good formula between the various creatures, Titans, and many new mechanics that players will enjoy in Extinction.<br />  <br /> <strong>Studio Wildcard co-founder Jesse Rapczak <a href="https://twitter.com/arkjesse/status/1042146388816158722" target="_blank">tweeted</a> that ARK: Extinction is going to challenge and delight players in new ways. Can you explain how the expansion will accomplish this?</strong><br /> <br /> Since ARK was first released, our team has grown substantially in both size and talent. We want to give players that joy of experiencing something new, but still hold true to the established ARK experience. This has involved revisiting some of our past successes and improving on those mechanics to elevate ourselves to the next level. We wanted to do the same thing for the player experience. Extinction will be on a level all of its own and players will be able to see the progress that we have made as a studio since 2015. <br /> <br /> <img alt="ARK_Extinction_-Pic_05.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-studio-wildcard-s-extinction-expansion-evolves-the-ark-franchise%2FARK_Extinction_-Pic_05-1920x1080-3c6de14809d56c78cc5a72caee262d3c731fe4a9.jpg" width="100%" /><br />  <br /> <strong>Considering Extinction now takes ARK to Earth, can you provide the backdrop for the story?</strong><br />  <br /> The survivors are aware that there is some overseeing force that has been creating these floating biodomes in space known as the ARKs. We know that this force has been collecting samples from all of history and bringing them back to life, preserving them in a way in artificial biomes. This is because Earth had fallen into disarray by the plague of Element. Element was able to infect the planet and the populations within it, which then drove the planet to extinction. In ARK: Extinction, we will learn what exactly happened to planet Earth that caused that downfall to happen, and if we are able to save the planet and start its return to glory.<br /> <br /> <strong>Where does Extinction fit in with the company&#39;s overall vision for the ARK franchise?</strong><br />  <br /> Extinction is ultimately the conclusion to ARK’s current storyline. The burning questions in everyone’s mind have always been: how did we get here, and what exactly is an “ARK” anyways? Extinction finally answers both of these questions and more. Over the past few months, we have been teasing this storyline through events called the Extinction Chronicles. Each month we released new Explorer Notes into the already released game and expansion packs that hinted on the story that will unfold in Extinction. <br /> <br /> <img alt="ARK_Extinction_-Pic_03.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-studio-wildcard-s-extinction-expansion-evolves-the-ark-franchise%2FARK_Extinction_-Pic_03-1920x1080-41b00e2944e98227f12d9d0f54ccbd04ed2669f5.jpg" width="100%" /><br /> <br /> <strong>Can you talk about the new environments, like the overgrown city, you’ve built for the expansion?</strong><br /> <br /> Since the expansion is located on Earth, players can expect to see some things that would be familiar to home. However, the Earth, prior to its present day downfall, was progressed further along than current technology has allowed in our lifetime. For example, one of the main areas as you’ve mentioned is the City, now overgrown and decayed, but still surveillanced by a protection force of Scouts and Enforcers. Players can discover other biomes with giant overarching domes, “Proto-ARKs,” containing within them the desert, tundra, and failed experiment: the Crater forest that lies beneath the city itself. The terrain outside of these areas has been ravaged by element, sulphur, and corrupted creatures. <br /> <br /> <strong>Studio Wildcard has revealed new, inventive beasts, with creatures such as the seemingly cute <a href="https://www.youtube.com/watch?v=bwyJm2lyb1Y" target="_blank">Gasbags</a> to the perplexing <a href="https://www.youtube.com/watch?v=iHLPGQHB_RQ" target="_blank">Gacha</a>. How many new creatures will the expansion introduce and how might they affect gameplay?</strong><br />  <br /> Extinction offers many new creatures: Velonasaur, Gasbags, Managarmr, Gacha, Snow Owl, as well as temporary tames—the Titans—and craftable creatures like the Scout and Enforcer. There are also the corrupted creatures of which there are many different types, but they are untameable due to their resistance to narcotics and aggressive tendencies. Each creature serves a specific purpose to the player and to Extinction as a whole. For example, the Gasbags is a beast of burden capable of hauling extensive amounts of materials and weight for long distances. It breathes in air and expels it through the lining on its stomach to be able to float gracefully--perhaps awkwardly--through the air. With each of these new creatures we sought out to fill gaps in our current lineup of creatures that allows them to be individuals and useful among hundreds of already established creatures.<br /> <br /> <img alt="ARK_Extinction_-Pic_18.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-studio-wildcard-s-extinction-expansion-evolves-the-ark-franchise%2FARK_Extinction_-Pic_18-1920x1080-34c415e021bb8ce3c5ad7baa18fe7043259f844a.jpg" width="100%" /><br /> <br /> <strong>How will the new untamable corrupt dinosaurs in Extinction affect the world and gameplay?</strong><br />  <br /> They are located in the most dangerous area on the map known as the Wasteland. True to its name, the Wasteland is extremely harsh and nearly uninhabitable to humans due to the ever dominating presence of corrupted creatures. While treacherous, this biome remains one of the most valuable to players, too. Players will be able to find Orbital Supply Drops in this biome which they must defend from waves of corrupted creatures at varying levels of difficulty. If successful, they will be awarded top-tier loot, some of which can only be obtained through these drops. Players can base up in this environment if they are able to protect their home from the corrupt, which are able to damage all structures, but it will be a very challenging experience for even for the most veteran of players. <br /> <br /> <strong>How does the studio come up with all of the interesting creature designs? Do members of the team research paleontology for inspiration?</strong><br />  <br /> At the beginning stages, we like to pool ideas from everyone at the studio, this is something that we continue to do throughout the entire creative process. Everyone throws out ideas on what they’d like to see and we pick at the things that stick the most. By keeping everyone involved in the creative process, we are able to produce many unique ideas that may not be possible if we completely segregated the roles at our studio. We do also like to take influence and inspiration from many things, paleontology being one of those. We also have a deep appreciation for games of the past and pop-culture references. <br /> <br /> <strong>Can you talk about the massive roaming Titan mini-bosses in the expansion? Will players be able to tame them?</strong><br />  <br /> Yes, some of the Titans can be tamed for short periods of time! Each Titan uses a different set of mechanics in order to take down the beast and convert it to your side. This also requires a decent amount of teamwork, as these are boss-level creatures and, once summoned, will be difficult to tame. Once tamed, they have saddle platforms and players are able to build defenses in their backs like a giant moving fortress. <br /> <br /> <img alt="ARK_Extinction_-Pic_11.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-studio-wildcard-s-extinction-expansion-evolves-the-ark-franchise%2FARK_Extinction_-Pic_11-1920x1080-38a3813abb80ea5634d28e4d62e78244c149b96e.jpg" width="100%" /><br /> <br /> <strong>Does Extinction introduce many new weapons and armor?</strong><br />  <br /> The (literal) biggest addition would be both a combination of armor and weapon: the Mek. Mek’s are crafted by the player and then the player climbs inside their giant weaponized creation. There are multiple weapon types and ammo that can be given to the Mek to change its purpose. You can choose to shield your allies or shoot down your foes with a giant cannon strapped to the back of your Mek. A Mek is required for some of the highest difficulty gameplay on Extinction including Orbital Supply Drop (OSD) and the final boss fight.<br /> <br /> <strong>Extinction will allow players to freeze creatures into little ice cubes so that they can more easily carry them around. That&#39;s a really interesting mechanic. Can you talk about how you came up with this concept and what it might add to the game?</strong><br />  <br /> One of ARK’s long standing requests has been a way to manage players hoards of tamed creatures in a meaningful and impactful way. ARK does encourage players to tame large amounts of creatures due to needing a variety of harvesting creatures, egg laying creatures, and creatures for fighting. This new cryo feature allows people to pick and choose what creatures they have around their base at any given time without the negative side effects of having hundreds of mouths to feed, and does come with a performance boost especially if players cryo a majority of their tames. The actual implementation is very reminiscent of Pok&eacute;mon, which is something many of us have played and enjoyed over the years. <br /> <br /> <strong>Extinction will introduce a new PvE event that incorporates tower defense-like gameplay. Can you explain how it works?</strong><br /> <br /> This new mode is called Orbital Supply Drop (OSD). Essentially, players will trigger these randomly as they walk throughout the Wasteland. Once a supply drop plummets down from the sky, a tribe of players must defend it from taking damage against waves of corrupted creatures. If successful, they will be rewarded with loot that coincides with the difficulty level of the supply drop. There are four different difficulties: easy, medium, expert, and legendary. At the legendary difficulty it may be one of the hardest things we have ever introduced into ARK and will require substantial teamwork and investment to complete successfully.<br /> <br /> <img alt="ARK_Extinction_-Pic_14.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-studio-wildcard-s-extinction-expansion-evolves-the-ark-franchise%2FARK_Extinction_-Pic_14-1920x1080-de854ecda77be621781a37722551b876f78681f7.jpg" width="100%" /><br /> <br /> <strong>Does the team have a favorite UE4 tool or feature?</strong><br />  <br /> Without a doubt it’s the UE4 Editor itself. All of the tools allow us to build content at a speed that we could not achieve any other way. Whether it’s materials, particles, gameplay scripting, or level design - we can build better things faster than we could anywhere else.<br /> <br /> <strong>Did the team use UE4’s visual scripting language, <a href="https://docs.unrealengine.com/en-us/Engine/Blueprints" target="_blank">Blueprints</a>, for Extinction’s development at all?</strong><br />  <br /> We use Blueprints extensively in gameplay development. They empower us to make numerous diverse mechanics. In addition, the iteration time when working with Blueprints enables us to develop more with less, keeping the indie vibe while working on a massive game. Beyond that, we use Blueprints as a platform upon which we enable users to mod our game and then drop in their own logic and content, which allows them to take the mechanics even further.<br /> <br /> <strong>What has been the biggest developmental challenge to overcome?</strong><br />  <br /> Balancing our team&#39;s passion for the project against time. There&#39;s so much creativity and enthusiasm for what we work on, day in and day out, that it can be tricky at times to rein in our ambition and shelve really cool ideas to ensure we hit our deadlines. That said, this "abundance of imagination" internally along with great feedback from our players allows us to have a pretty vast store of features to think about for the future.<br /> <br /> <img alt="ARK_Extinction_-Pic_12.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-studio-wildcard-s-extinction-expansion-evolves-the-ark-franchise%2FARK_Extinction_-Pic_12-1920x1080-4f4667a5c56cfcb3ecf833cfef18fa52413bf48c.jpg" width="100%" /><br />  <br /> <strong>What has the studio learned from working on the franchise?</strong><br />  <br /> ARK is our first game as a studio which I think comes as a surprise to people who have not known us since the beginning. We began as a very small team of developers working out of a team member’s house in the early days. Since then, we’ve grown considerably. There were growing pains as we had to scale up very rapidly to keep up with the demand from our audience. We wanted to deliver our passion to our players just as much as they wanted to experience it but ARK’s immediate success took us by surprise and it was difficult, and still is, to onboard people at a rapid rate who can keep up with the development process that is ARK. Over the years we have made significant progress. We now have two studio locations and dozens of remote employees from around the world. One thing we haven’t learned is to not underestimate your audience. Many times we think we have adequately prepared and our players show up in ways we didn’t expect and we have to scramble to online servers, for example. The amount of dedication from our players is something that we honor very much, but it still takes us by surprise.<br /> <br /> <strong>ARK: Survival Evolved has been one of the most played games for several years. What do you attribute this to?</strong><br />  <br /> There is nothing else quite like ARK. That, as well as just how customizable the game is, has kept people playing for thousands of hours. There is a little something for everyone to enjoy. This was quite intentional when it came to developing an open-world game. We wanted all player experiences to be valid, up to and including plenty of modding support for those so inclined. This has allowed many talented creators to develop their own maps, creatures, and content for the game that benefits the entire ARK community greatly. Players can build, fight, tame, explore, and create stories of their own in the world of ARK and we think that is something very special. <br /> <br /> <strong>Thanks for your time! Where can people learn more about ARK: Extinction?</strong><br /> <br /> ARK: Extinction is <a href="https://store.steampowered.com/app/887380/ARK_Extinction__Expansion_Pack/" target="_blank">available now on Steam</a> and is free to all ARK survivors who own the season pass. PlayStation and Xbox One players will be able to jump in game on November 13th. For any questions, you can also visit our community forums at <a href="https://survivetheark.com/" target="_blank">survivetheark.com</a>.<br /> <br /> <em>Considering Studio Wildcard was able to make such a fantastically wonderful world with UE4, if you’d like to experiment building your own virtual world for free today, download and explore <a href="https://www.unrealengine.com/en-US/release-notes" target="_blank">Unreal Engine</a>.</em>gamesJimmy ThangTue, 13 Nov 2018 15:30:00 GMThttps://www.unrealengine.com/blog/how-studio-wildcard-s-extinction-expansion-evolves-the-ark-franchisehttps://www.unrealengine.com/blog/how-studio-wildcard-s-extinction-expansion-evolves-the-ark-franchiseCelebrating Unreal Engine Developers Throughout EuropeThis October the Unreal Engine team traveled all over Europe where we had the privilege to meet and greet an enormous number of talented Unreal Engine developers while laughing, cheering and playing amazing games. <br /> <br /> We are moved by your determination and dazzled by your passion - which is a cornerstone beneath all of your fascinating projects. Our team is very grateful to have such a devoted, talented and inspiring community of Unreal Engine developers. That is why we wanted to share your accomplishments with the world!  <h2>SALUTI A MILANO!</h2> <div style="text-align: center;"><img alt="01_Milan_Mixer.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fcelebrating-unreal-engine-developers-throughout-europe%2F01_Milan_Mixer-600x338-7dac6312b0519c3f25530917e1e19bcf5bea9f81.png" /></div> <div style="text-align: center;"><em>Thanks to <a href="http://www.aesvi.it/" target="_blank">AESVI</a> for co-hosting the Unreal Engine Mixer in Milan</em></div> <br /> We saw great projects on display at Milan Games Week and met with outstanding local studios, titles both in the midst of development and released. <br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/fMS4E6zeByc" width="100%"></iframe></div> <a href="http://www.thesuicideofrachelfoster.com/" target="_blank">The Suicide of Rachel Foster</a> | 101%, in cooperation with Reddollgames and Alphaomega<br /> <br /> The Suicide of Rachel Foster is a mystery thriller adventure, with a focus on a narrative.<br /> As Nicole, investigate a story of a girl who committed suicide years ago. Her story seems to hide a mystery far deeper than imaginable, a tale of love and death, where melancholy and nostalgia melt into a gripping ghost tale.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/edua00jNIVY" width="100%"></iframe></div> <a href="https://www.nagesoft.eu/nage/" target="_blank">NOIZ</a> | Nage Software House <br /> <br /> NOIZ is a racing survival game that integrates arcade components with RPG and simulation elements. The story catapults you in the shoes of a talented runner adrift, to join an interstellar tournament organized by the alien Tumak race, where you and others have the opportunity to experience something really unique and very dangerous.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/WSC0khmrMGM" width="100%"></iframe></div> <a href="https://twitter.com/untoldgamestw?lang=en" target="_blank">Terramars</a> | Untold Games <br /> <br /> In Terramars, manage six crew members in a mission to start the terraforming Mars. You’ll manage the planet’s resources, development of the base camp and the repercussions on the mental and physical health of the astronauts from the conditions in which they’re living. The game explores the challenges and stresses on human bodies, minds, and social relationships when adapting to life in an alien environment. <h2>BRAVO, BUCURESTI!</h2> <div style="text-align: center;"><img alt="Indie-area-at-Dev.Play.jpg" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fcelebrating-unreal-engine-developers-throughout-europe%2FIndie-area-at-Dev.Play-1500x1000-efdceb9515bb3ce3f7d1a5f38beecca57cb79999.jpg" style="height: 513px; width: 770px;" /><br /> <em>Thank you to Dev.Play for hosting us in Bucharest and welcoming Unreal developers at Indie Booth </em></div> <br /> While in Bucharest, our team visited Unreal developers who were showcasing their games to the public, game industry professionals, and publishers. Together with <a href="https://dev-play.ro/" target="_blank">Dev.Play</a> we co-organised an Unreal Mixer inside of the venue and held multiple talks.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/5QsaPzTxli4" width="100%"></iframe></div> <a href="https://foxdivestudio.com/games/" target="_blank">Blink: Rogues</a> | Fox Dive Studios<br /> <br /> In Blink: Rogues, a mash-up between classic shoot&#39;em up and arena style games, you can engage in competitive 5-minute PvP matches with your friends. Use the unique Blink mechanic to outsmart them, steal their loot or outright frag them.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/xMbYF-hoBh8" width="100%"></iframe></div> <a href="http://www.scorpiusstudios.com/positron" target="_blank">PositronX</a> | Scorpius Studios <br /> <br /> PositronX is a rogue-lite first-person shooter that emphasizes strategic fast-paced combat, creative time and movement mechanics and detailed graphical quality, packed into a highly replayable experience.<br />   <div class="embed-responsive embed-responsive-16by9"> <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/LfkfGuTtkBg" width="100%"></iframe></div> </div> <a href="http://gray-dawn.com/" target="_blank">Gray Dawn</a> | Interactive Stone<br /> <br /> Gray Dawn is a first-person horror game that entangles you into the terrifying adventure of a priest on a quest to prove his innocence. It is an atmospheric thriller that keeps you on the edge of your seat from start to finish.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/3wqYNxUAuC4" width="100%"></iframe></div> <a href="http://unboundthegame.com/" target="_blank">Unbound: Worlds Apart </a>| Alien Pixel/Square Head Games<br /> <br /> In the visually breathtaking 2D adventure game Unbound: Worlds Apart, enjoy exploring beautifully crafted worlds using portals and solving puzzles by thinking how to use the enemies in order to progress through your adventures. Unbound: Worlds Apart is a recent Unreal Dev Grant recipient. <h2>DANKE MUNCHEN!</h2> <div style="text-align: center;"><img alt="03_Munich.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fcelebrating-unreal-engine-developers-throughout-europe%2F03_Munich-600x338-3ba7ce7abb51ffd0995746c900a136d7c2e2b965.png" /></div> Thanks to <a href="http://www.games-bavaria.com/" target="_blank">Games/Bavaria</a> for co-hosting the second edition of the Munich Unreal Engine Evening and to our friends from <a href="https://bulkheadinteractive.com" target="_blank">Bulkhead Darkhorse</a>, <a href="https://www.fff-bayern.de/" target="_blank">FFF Bayern</a>, and <a href="http://aesir-interactive.com/" target="_blank">Aesir Interactive</a> who took part as speakers. Your talks were very enlightening!  <h2>BRAWO POLSKA!</h2> <div style="text-align: center;"><img alt="04_Poland_Mixer.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fcelebrating-unreal-engine-developers-throughout-europe%2F04_Poland_Mixer-600x338-0e2f842ba41455ddfd70c8a24fd6252e826a72bd.png" /><br /> <em>Many thanks to Polygon who helped with UnrealMixer in Warsaw, and thanks to the attendees for a great time!</em></div> <br /> While attending the <a href="https://gic.gd/" target="_blank">Game Industry Conference</a> in order to support the incredible Polish developer community, our Technical Evangelist Sjoerd de Jong and developers from <a href="https://foolstheory-studio.wixsite.com/website" target="_blank">Fool’s Theory</a> shared ‘Storytelling Tools Development for an RPG Game in UE4’. <div style="text-align: center;"><br /> <img alt="05_PGABooth.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fcelebrating-unreal-engine-developers-throughout-europe%2F05_PGABooth-650x487-9f9ea6cff1078aa2e991db62462ad29162c959d0.png" /></div> <div style="text-align: center;"><em>Unreal Engine Developers at PGA in Poznan</em></div> <br /> At the <a href="https://www.gamearena.pl/en/" target="_blank">Poznan Game Arena</a>, we had the pleasure to host 12 shocking, visually breathtaking and highly entertaining indie games in our beautiful booth!<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/GgT4m6dY2EA" width="100%"></iframe></div> <div><a href="http://www.rendercube.pl/" target="_blank">Monster League</a> | Render Cube</div> <br /> Monster League is a split-screen multiplayer kart game set in a cartoonish world of familiar monsters known from legends and pop-culture. Choose your favorite monster to race against your opponents or even battle them. Monster League offers a pleasant and easy-to-learn driving system, as well as casual and enjoyable entertainment for players of all ages.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/HkT2XryBIUU" width="100%"></iframe></div> <a href="https://store.steampowered.com/app/619700/Steel_Rats/?fbclid=IwAR3-qJW7WtU6wSBhrjpXzK8QlKLkPUqdv3Xta7FEq1_v6QfpboY9FJBRZ1c" target="_blank">Steel Rats™ </a> | Tate Multimedia<br /> <br /> Steel Rats is a 2.5D action arcade genre, fusing destructive, octane-fuelled, motorbike combat and death-defying stunt gameplay, set in a stylised retro-future world. <br /> <br /> <img alt="Weakless.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fcelebrating-unreal-engine-developers-throughout-europe%2FWeakless-1094x609-cebd5bef441d6008ea603ed043180ca511956498.png" /> <div><a href="https://twitter.com/weakless_game?fbclid=IwAR0WhJcD0ghT2W-I8MDEPxvQVPYSwyJwdJWsTlsIMBog3SeZ80PAmYM7nhU" target="_blank">Weakless</a>  | Punk Notion</div> <br /> Weakless is a 3D isometric puzzle game in which you switch between two characters - Blind and Deaf. Only by using the cooperation of both can you overcome the obstacles found along the way.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/fsAkPzCE3y4" width="100%"></iframe></div> <a href="https://store.steampowered.com/app/887720/Devils_Hunt/" target="_blank">Devil’s Hunt</a> | Layopi Games<br /> <br /> Devil’s Hunt is a third-person action game where a war between Demons and Angels takes you to hell and back. You are Desmond, the one man with demonic powers who can decide the fate of our world by joining either side of the conflict. The game is based on the original novel by Paweł Leśniak “Equilibrium“.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/1ZeDVEvjWPI" width="100%"></iframe></div> <a href="https://mundfish.com/en/?utm_referrer=https%3A%2F%2Fwww.google.cz%2F" target="_blank">Atomic Heart</a> | Mundfish<br /> <br /> Atomic Heart is a first-person shooter adventure, set in an alternate universe during the high noon of the Soviet Union. As a Soviet KGB officer, you encounter futuristic enemies and a variety of combat vehicles.  <div style="text-align: center;"><img alt="06_PolishPrimeMinister.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fcelebrating-unreal-engine-developers-throughout-europe%2F06_PolishPrimeMinister-600x450-ada6abd3bcb0f90eff495302a1789251ebc09306.png" /></div> <div style="text-align: center;"><em>The games from Unreal developers were so attractive that even the Prime Minister of Poland, Mateusz Morawiecki, could not resist stopping by!</em></div> <h2>СПАСИБО, МОСКВА!</h2> <div style="text-align: center;"><img alt="02_Indie-Area-UE-.jpg" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fcelebrating-unreal-engine-developers-throughout-europe%2F02_Indie-Area-UE--960x720-2d31c0e18c89019bcde3b850ee937abdc18c4aa8.jpg" style="height: 578px; width: 770px;" /><br /> <em>Indie Area powered by Unreal Engine at White Nights conference. Thank you for your hospitality!</em></div>   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/DOBnP_UHSEU" width="100%"></iframe></div> <a href="https://store.steampowered.com/app/520960/FeArea/" target="_blank">FeArea</a> | MUVGames<br /> <br /> FeArea is a Sci-fi action game with MOBA elements. Join team battle on futurstic armored vehicles, combat robots, and machines. Fight against other players or AI bots. Use lasers, plasma guns and rockets to defeat your enemy!<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/TCJca0VLesE" width="100%"></iframe></div> <a href="https://store.steampowered.com/app/922690/The_PUB_simulator/" target="_blank">The PUB Simulator</a> | EvilCG<br /> <br /> The PUB Simulator is a first-person management game, where you need to build a bar, serve customers, collect money and fix any mess which wild drunk people can make.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/sxpDT-omoQw" width="100%"></iframe></div> <a href="https://octoboxint.com/gamebox/blazing-core/" target="_blank">Blazing Core</a> | OctoBox Interactive<br /> <br /> Blazing Core is a team-centric tactical shooter featuring mech-knights. You can adjust your mech according to your chosen playstyle, combine your abilities with those of your teammates, come up with and use various tactics to fight giant battle machines. <h2>TACK SVERIGE!</h2> <div style="text-align: center;"><img alt="07_SwedenGameArena.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fcelebrating-unreal-engine-developers-throughout-europe%2F07_SwedenGameArena-600x450-d25c1f15e29532ba322ee2137be140066adeaca4.png" /><br /> <em>UE Technical Evangelist, Sjoerd de Jong speaking at Sweden Game Arena Conference</em></div> <br /> Our last stop was in Skovde, Sweden where we saw so many familiar faces and made new friends at the <a href="http://swedengamearena.com/conference/" target="_blank">Sweden Game Arena</a>. Thank you to <a href="http://goodbyekansas.com/" target="_blank">Goodbye Kansas</a> for co-hosting an amazing after-party and all developers who joined us there!<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/8Tac_5k1IkA" width="100%"></iframe></div> <a href="https://store.steampowered.com/app/436110/Medusas_Labyrinth/" target="_blank">Medusa&#39;s Labyrinth</a> | Guru Games<br /> <br /> Medusa’s Labyrinth is a short mythological first-person horror game set in ancient Greece. It takes myths and legends that have stayed with us for over 2000 years and mixes them with modern gameplay. The game lets you explore murky catacombs and follow along a classic, tragic story.<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/UrpMPtApNOA" width="100%"></iframe></div> <a href="http://www.sunscalestudios.com/" target="_blank">Hyss</a> | Sunscale Studios<br /> <br /> Hyss is a lighthearted 3D-puzzle adventure where you have to combine the strengths of both Vilde the gnome and Grusa the troll to save the abducted cows from the fairies’ tricky puzzles. Set in an enchanting Swedish forest, Hyss is a treat for both the eye and ear, as well as a tricky challenge for the puzzle enthusiast.  <h2>Being Epic!</h2> Thank you Unreal Engine developers for being hard-working, passionate, talented, determined, creative and for being who you and your projects truly are - epic!<br /> <br /> In case you have any questions regarding our upcoming events or want to get in touch with us, connect with us via <a href="http://twitter.com/unrealengine" target="_blank">Twitter</a>.<br /> <br /> We are always here to help you! <h2>More Great Titles from the Tour:</h2> <a href="http://www.thefoxsoftware.com/" target="_blank">Active Soccer</a> | The Fox Software<br /> <a href="https://store.steampowered.com/app/620590/Ancestors_Legacy/" target="_blank">Ancestors Legacy </a>| Destructive Creations<br /> <a href="http://steampowered" target="_blank">Another sight</a> | Lunar Great Wall<br /> <a href="http://www.thefarm51.com/eng/projekt/chernobylite-2/" target="_blank">Chernobylite</a> | Farm 51<br /> <a href="http://cryowar.com/" target="_blank">CryoWar</a> | Kipi Interactive<br /> <a href="http://www.gatesofnowhere.com/" target="_blank">Gates to Nowhere</a> | Symmetry<br /> <a href="https://playguntastic.com/" target="_blank">Guntastic</a> | We Are Ludicrous<br /> <a href="https://www.redkoibox.it/" target="_blank">The Iris Project</a> | Red Coi Box<br /> <a href="https://www.facebook.com/StigmaStudiosDEV/" target="_blank">Lost Paradise</a> | Stigma Games<br /> <a href="http://marsenary.com/pr/" target="_blank">Marcenaries</a> | TVX<br /> <a href="http://www.metamorphosisgame.com/" target="_blank">Metamorphosis</a> | Ovid Works<br /> <a href="https://www.facebook.com/PolyAmorousGames/" target="_blank">Paradise Lost</a> | Polyamorous<br /> <a href="https://store.steampowered.com/app/640300/Run_Of_Mydan/" target="_blank">Run of Mydan</a> | Virtew<br /> <a href="https://spacecowsgame.com/" target="_blank">Space Cows</a> | Happy Corruption<br /> <a href="http://angrydemonstudio.com/" target="_blank">Unforgiving - A Northern Hymn </a> | Angry Demon Studios<br /> <a href="https://www.youtube.com/watch?v=2ZkAKp-Kp4E" target="_blank">Wizard PSVR</a> | Carbon<br /> <a href="https://twitter.com/t_devs" target="_blank">Wrecking ball adventures</a> | Don&#39;t bite devs<br /> <a href="https://store.steampowered.com/app/899390/Xenon_Racer/" target="_blank">Xenon Racer</a> | 3D Clouds<br />  communitynewsMilena KoljensicTue, 13 Nov 2018 11:00:00 GMThttps://www.unrealengine.com/blog/celebrating-unreal-engine-developers-throughout-europehttps://www.unrealengine.com/blog/celebrating-unreal-engine-developers-throughout-europeJobs in Unreal Engine - Technical Artist<h2 style="text-align: center;">Understanding the Role of a Tech Artist</h2> <br /> Real-time technology is powering the world of interactive entertainment and transforming industries such as TV/film, architectural visualization, industrial design, and visual FX. It is now standard for game developers to create high quality games that render vast open worlds and for enterprise leaders to quickly deliver high-fidelity interactive experiences in real time. With the evolution and the complexity of real-time rendering across so many industries, it has never been so critical to bridge the gap between art and code to deliver exceptional results. This is where the technical artist comes in. <h2>What is a technical artist?</h2> A technical artist is a relatively new term in 3D development and real-time technology, but the demand for this particular role is growing quickly with a 48% increase in job postings in the last 12 months (Burning Glass, 2018). In game development, a technical artist, or tech artist for short, is the bridge between level designers and programmers working on a game. They are essentially the link between code and art. They ensure performance, consistency, and workflow. A proficient tech artist will allow a project to ship faster and at a higher level of quality.<br /> <br /> Tech artists tend to be generalists while also having a strong focus in at least one area such as: <ul> <li>Shading </li> <li>Lighting</li> <li>Procedural creation</li> <li>Scripts/Pipeline work</li> <li>Optimization</li> <li>Visual Effects (FX)</li> </ul> They often look at performance and profiling data with programmers, then brainstorm and implement content optimizations. Tech artists must be tools and technology experts, knowing the best routes to take and how to harness the tools being used most effectively. Tech artists fill in the gaps that studios may not even know exist, which is why every game studio needs a tech artist to ensure efficiency on all ends. <div style="text-align: center;"><img alt="Volumetrics-Ocean.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FVolumetrics-Ocean-512x287-4317ed772e9bfda331223a1363bb1e6d0b9d90ca.jpg" width="100%" /></div> <div style="text-align: center;"><em>Volumetrics, Materials, Lighting</em></div> <h2>Why are they needed?</h2> <strong>Prototyping </strong><br /> <br /> With more procedural content creation methods like Blueprints, Houdini and noise/shader based creation, tech artists are needed to test and prototype new graphics or content creation methods. They also aid with tool development when writing scripts in 3D rendering software such as 3ds Max, Maya, and Python. Prototyping can help other artists process assets for game use. <br /> <br /> Tech artists work closely with engine/rendering programmers to share feedback on tools as well as prototype results. A tech artist can often make a fully functioning feature prototype in just days using Blueprints/shaders alone and demonstrate it to the team . The same feature may then take weeks to ‘officially’ rewrite in C++ into the engine in a general purpose way.<br /> <br /> <img alt="huskdeath-spike2FX.gif" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2Fhuskdeath-spike2FX-617155a56aceee89897b17f6b6430fbd92a4dc29.gif" width="100%" /> <div style="text-align: center;"><em>Custom FX implementation</em></div> <div style="text-align: center;"><img alt="Custom-fx-implementation.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FCustom-fx-implementation-1026x733-a6e222b6485bde1321f15cc497cd8b5990ed9f8c.jpg" width="100%" /></div> <div style="text-align: center;"><em>Custom FX implementation</em></div> <strong>Optimization</strong><br /> <br /> A tech artist&#39;s optimization goal is to hit the target frame rate while having a net neutral (zero impact) or even positive impact on the graphical quality of a game. They help to ship games on various platforms, and work closely with artists when necessary to implement changes. A mix of art and technical skill combine to facilitate better engine and game development.<br /> <br /> Typical tech artist optimization tasks include: <ul> <li>Developing content guidelines and workflows to ensure best practices</li> <li>Reducing scene complexity </li> <li>Analyzing content using profiling tools and/or spreadsheets to find ways to optimize memory/perf</li> <li>Adjusting project graphics settings</li> <li>Negotiating between art/code to find best compromises  </li> </ul> <img alt="Fortnite-Open-World.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FFortnite-Open-World-1600x900-d526f6eca7aa5697fb19cfab1d8b12ffc48aee8c.jpg" width="100%" /> <h2>Where are they needed?</h2> <strong>Games Industry</strong><br /> <br /> Advanced technology for games increases the demand for technical roles at game studios. Not only do gaming companies need more experienced level designers and programmers, they need someone to bridge the gap between art and code. <br /> <br /> Tech artists ensure that programmers are programming, designers are designing, and artists are creating amazing art. This means everyone on the team is being utilized to their best potential. Real-time rendering also entails quick turnaround and a tech artist’s job is to prioritize and optimize game production. They can help quickly implement needed changes and prepare games to ship.<br /> <br /> <img alt="Fortnite-Cube.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FFortnite-Cube-1920x1080-9a66a68e6061577160f354858e3e13d80eda6886.jpg" width="100%" /><br /> <img alt="Fortnite-Season-5-Map.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FFortnite-Season-5-Map-1920x1080-3a1f99ac6f7b9b51422dd17c214001d3431df423.jpg" width="100%" /> <div style="text-align: center;"><em>Tech artist jobs postings have seen a 48% growth rate in last 12 months - <strong>Burning Glass, 2018</strong></em></div> <strong>Film Industry</strong><br /> <br /> Media and entertainment studios are increasingly turning to real-time technology to reinvent their pipelines. Real-time engines, like UE4, allow TV/film production teams to develop new workflows that drastically speed up processes, reduce hardware requirements, and promote creativity.<br /> <br /> UE4 allows films to be shot, edited, and shipped, virtually eliminating post-production. A tech artist can keep these processes streamlined and running seamlessly. In addition to optimizing art and tech in the engine, TV/film studios also have a demand for technical specialist roles for positions such as shading technical director, lighting technical director, and pipelines technical director.<br /> <br /> <img alt="Zafari_CaseStudy_Pic2_V2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FZafari_CaseStudy_Pic2_V2-1280x851-34df8f5e0794e5198cf7bf6467066e00d9f52b28.jpg" width="100%" /><br /> <img alt="Lucasfilm.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FLucasfilm-1640x1000-6624e8376fc4555675c07992986f3664324d5075.jpg" width="100%" /> <div style="text-align: center;"><em>Reflections real-time ray tracing demo</em></div> <strong>Architecture Industry</strong><br /> <br /> When it comes to architectural visualization, it’s the tech artist&#39;s job to develop data pipelines and adapt existing pipelines to integrate new technologies or tools. In this vertical, tech artists often act as the primary programmer or developer for smaller teams that rely mostly on off-the-shelf features of the tools being used. They are usually tasked with learning new software, then training the team how to best use it for the studio&#39;s particular needs.<br /> <br /> <img alt="Archviz---Entre-and-Archeitects.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FArchviz---Entre-and-Archeitects-1640x1000-fab3d064868ca0292959714e71b8c72b635ec18f.jpg" width="100%" /> <h2>What types of skills do they require?</h2> In order to be successful with tasks like optimization and profiling, here are some of the skills a technical artist needs: <ul> <li>A solid understanding of trigonometry and vector math</li> <li>A foundation in at least one ‘traditional’ category such as level design, environment art, animation or coding</li> <li>Experience writing in various scripting languages is hugely helpful: MAXScript, Python, MATLAB</li> <li>For UE4:  Blueprints, materials, level streaming</li> <li>Understanding how computers work from a hardware to software level</li> <li>They should understand how the various parts of a computer work together to render a scene, from loading the data from the hard drive to presenting it as an image to the player.</li> </ul>   <br /> <img alt="ScriptMotion_UI.png" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FScriptMotion_UI-1289x758-359d7a5050fe2059525f065d2e79f0849cadac36.png" width="100%" /> <div style="text-align: center;"><em>John Lindquist’s Pivot Painter 2 Max Script</em></div> <h2>What does the career path look like?</h2> The best route to becoming a tech artist is to come from either an art or programming background. Most technical artists come from an art background and have specialized in a particular area such as architectural visualization, animation, lighting/shading, texturing, special FX, or character rigging. A technical artist can work in multiple industries including gaming, architecture, TV/film, industrial design, or the automotive industry. <blockquote> <p>“Usually tech artists have something tangible and &#39;techy&#39; to show if they are hired directly into that role, or they slowly shift into the role after starting out in another content creator role, such as a level designer or environment artist. I personally started as a level designer and transitioned into tech art over the period of a few years, and a few others have followed a similar path.” - Ryan Brucks, principal tech artist, Epic Games.</p> </blockquote> <br /> <img alt="Store_AutomotiveMaterialPack.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FStore_AutomotiveMaterialPack-1920x1080-fe768f6ea44e10a78c1ee1159da5d2680ead2827.jpg" width="100%" /> <div style="text-align: center;"><em>Automotive-themed PBR Materials and Textures</em></div> <br /> <br /> <img alt="Store_AutomotiveMaterialPack-Car.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FStore_AutomotiveMaterialPack-Car-1920x1080-6b579d52fd4adedea30f9eab170d9c273bcfba03.jpg" width="100%" /> <div style="text-align: center;"><em>Automotive-themed PBR Materials and Textures</em></div> <h2>How can they excel?</h2> <strong>Always learning</strong><br /> <br /> A good tech artist loves to learn new things. It’s important for them to attend talks and events and network with professionals in their area of expertise. They should always make an effort to stay up to date with the latest technology as this makes them a valuable source of information within a company. <blockquote> <p>“You’ll never be bored being a tech artist. One day you might be writing a tool, the next you’re experimenting with new hardware, the next you’re developing the art guidelines for the studio’s next big project, the next you’re leading a training session for your peers. You’ll also have your pick of fields to work in and studios to work for, from automotive and aerospace to games, film, and TV; they all need great tech artists.” - Tom Shannon, technical artist, Education, Epic Games</p> </blockquote> <br /> <img alt="EF_Snapped_EpicGames_D2_76.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FEF_Snapped_EpicGames_D2_76-6016x4016-2988ab9bb9ad3c5afea289c9fd69d18eb40fee73.jpg" width="100%" /> <div style="text-align: center;"><em>Epic Games Technical Artist Tom Shannon at Unreal Academy EDU in New York City</em></div> <strong>Communication</strong><br /> <br /> Communication is key as a tech artist as it’s important to get in the habit of sharing lots of information. They potentially have to work with many different people on a variety of projects. It’s the tech artist’s job to ensure open communication channels by asking questions and providing feedback. <blockquote> <p>“Being able to communicate with different groups that may not often communicate, i.e., being a link between engineering and content teams is critical. This means staying engaged with what people are doing around you locally and in the industry as a whole. Even if you have a specific focus, it helps to be somewhat of a generalist so you can still be nimble as projects and opportunities shift.” - Ryan Brucks, principal tech artist, Epic Games</p> </blockquote> <br /> <img alt="EF_Snapped_EpicGames_D2_183.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjobs-in-unreal-engine---technical-artist%2FEF_Snapped_EpicGames_D2_183-6016x4016-5ea95f99323ea1e4cc40d17a9393421b2ff17923.jpg" width="100%" /> <div style="text-align: center;"><em>Epic Games Technical Artist Tom Shannon at Unreal Academy EDU in New York City</em></div> <h2>Would I be a good tech artist?</h2> ✔ I like tinkering with all the settings and checkboxes in my art software.<br /> ✔ I have thought about or have written scripts or tools to help automate boring or repetitive tasks (zero joy tasks).<br /> ✔ I enjoy problem-solving.<br /> ✔ I can talk to programmers, artists, producers, and designers alike and kind of want to do all their jobs!<br /> ✔ I enjoy learning how my favorite applications work from a technical perspective.<br /> ✔ I am the person on my team that is the "scripting", "rigging" or "materials" person. <br /> ✔ Whenever there&#39;s a technical issue on a project, I&#39;m eager to help.<br /> <br /> Interested in a career as tech artist or another role in real-time technology? Get started on your career today by using our Unreal Engine Online Learning Portal <a href="https://academy.unrealengine.com/" target="_blank">here</a>. These guided videos are free and on-demand so you can learn UE4 anywhere at any time!enterpriseeducationcommunitynewsgamesfilm and televisionvisualization and trainingMelissa RobinsonMon, 12 Nov 2018 18:00:00 GMThttps://www.unrealengine.com/blog/jobs-in-unreal-engine---technical-artisthttps://www.unrealengine.com/blog/jobs-in-unreal-engine---technical-artistMaking a Real-Time Design Tool: McLaren Automates CAD Import with Unreal Studio<a href="https://cars.mclaren.com/ultimate-series/p1/design-and-innovation" target="_blank">McLaren Design</a>, known for its sleek, fast cars, is naturally at the forefront of technology. Recently, the design team collaborated with Epic Games to develop a design tool in Unreal Engine, an application to aid its designers in visualizing configurations for various types of vehicles.<br /> <br /> Part of this process was importing parts data into Unreal Engine using <a href="https://www.unrealengine.com/studio" target="_blank">Unreal Studio</a>, and organizing and categorizing each part correctly. This process is described in the new whitepaper <a href="http://cdn2.unrealengine.com/Unreal+Engine%2Fresources%2FMcLaren+Whitepaper%2FADCaV-Whitepaper-V4-c77173835751d49c87c372a9050ae2573d2c5085.pdf" target="_blank">Accelerating Data Conversion and Visualization: </a>Automating CAD data preparation and real-time visualization using Unreal Studio which is now available for download.<br /> <img alt="blog_body_img1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fmaking-a-real-time-design-tool-mclaren-automates-cad-import-with-unreal-studio%2Fblog_body_img1-1640x1000-90ad4c4e96cd237993a31b0d388e7334d9e4dd16.jpg" width="100%" /><br /> McLaren has a large inventory of parts data in CAD format, and getting the data into Unreal Engine took careful preparation before import with Unreal Studio. McLaren leveraged the power of Python scripts within Unreal Engine to classify parts as they were imported. The team then used Blueprints to build a user interface where designers could swap out parts and finishes at the click of a button.<br /> <br /> “Unreal Studio is designed to make real-time design tools possible,” says Marc Petit, General Manager of Enterprise at Epic Games. “The power of Python scripting, when coupled with Unreal Studio, provides a robust solution for manufacturers who need a fast solution while maintaining data integrity.”<br /> <img alt="blog_body_img2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fmaking-a-real-time-design-tool-mclaren-automates-cad-import-with-unreal-studio%2Fblog_body_img2-1640x785-c30aedeeb3d2a942375b3809cc68bd923550fa67.jpg" width="100%" /><br /> <br /> <a href="https://cdn2.unrealengine.com/Unreal+Engine%2Fresources%2FMcLaren+Whitepaper%2FADCaV-Whitepaper-V4-c77173835751d49c87c372a9050ae2573d2c5085.pdf" target="_blank">Download the whitepaper</a> to learn how McLaren did it, and get the <a href="https://www.unrealengine.com/studio" target="_blank">free Unreal Studio beta</a> for yourself and start importing!<br />  designenterprisefeaturesnewsprogrammingvisualization and trainingblueprintsThomas ConvardFri, 09 Nov 2018 14:23:58 GMThttps://www.unrealengine.com/blog/making-a-real-time-design-tool-mclaren-automates-cad-import-with-unreal-studiohttps://www.unrealengine.com/blog/making-a-real-time-design-tool-mclaren-automates-cad-import-with-unreal-studioEpic Games Announces over $800K in Unreal Dev GrantsToday Epic Games announced the latest recipients of <a href="https://www.unrealengine.com/en-US/unrealdevgrants" target="_blank">Unreal Dev Grants</a>, a $5 million fund supporting developers working with Unreal Engine 4 (UE4). This new round awards $800,000 to more than 30 individuals and teams, with no restrictions or obligations to Epic Games. As with previous rounds, these recipients illustrate the wide variety of use cases for UE4, including independent games, interactive visualizations, virtual reality surgical simulators and online learning resources.<br /> <img alt="DevGrant_BLog.png" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fepic-games-announces-over-700k-in-unreal-dev-grants%2FDevGrant_BLog-1920x1080-e07983db4af39885767c8f7c6d81c2f6ea2d5117.png" width="100%" /><br /> “The Unreal Dev Grants program has a simple goal: to help talented developers succeed by letting them focus more on their project and less on their bills,” said Chance Ivey, Partnership Manager at Epic Games. “We’re continually amazed by the range of applications built with UE4 and the potential of so many of these projects; this round includes standouts such as Sojourn by Tierceron, Crab Rave by Noisestorm, and VR Cataract Training Solution by Surgical Mind. Congrats to all of these folks for their vision and persistence!”<br /> <br /> The latest round of Unreal Dev Grants recipients includes:<br /> <br /> FILM / CINEMA: <strong>100 Flowers of God (working title) by 3rd World Studios</strong> - <a href="http://3rdworldstudios.com/" target="_blank">Website </a><br /> 3rd World Studios is the Pakistan-based creator of the first animated feature-length film rendered entirely in UE4, <a href="https://www.unrealengine.com/en-US/blog/visually-stunning-animated-feature-allahyar-and-the-legend-of-markhor-is-the-first-produced-entirely-in-unreal-engine" target="_blank">Allahyar and the Legend of Markhor</a>, which was released in February to critical acclaim. This Unreal Dev Grant is meant to accelerate 3rd World’s future film projects.<br /> <br /> TOOL / PLUGIN: <strong>Anomotion Motion Composer and Anomotion BIK</strong> – <a href="http://www.anomotion.com/" target="_blank">Website</a><br /> Anomotion maintains two animation solutions for UE4: Motion Composer, a task-based motion planner which automatically generates precise motion sequences from unstructured animation data; and BIK, an inverse-kinematics system that can model various joint types and define custom constraints for VR avatars, virtual humans and creatures. Anomotion&#39;s solutions have practical applications, from film previs to architectural visualizations. For industrial simulation and shared virtual environments, for example, Anomotion&#39;s technology can be used to populate interactive, adaptive training environments with task-directed virtual characters.<br /> <br /> FILM / CINEMA / VR:<strong> Awake: Episode One by Start VR</strong> – <a href="https://www.youtube.com/watch?v=7QIqclFVHVk" target="_blank">Trailer</a> <br /> Created by Start VR, Awake: Episode One is an interactive cinematic virtual reality experience for HTC Vive and Vive Pro. Awake: Episode One, which uses the latest volumetric capture techniques to bring real-life human performances into VR, officially premiered at SXSW and has been touring the festival circuit ever since. It’s coming soon to <a href="https://store.steampowered.com/app/845900/Awake_Episode_One/" target="_blank">Steam</a>. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/M0PZ6OU-oMU" width="100%"></iframe></div> INDEPENDENT GAME: <strong>Black Iris by Hexa Game Studio </strong>– <a href="https://www.hexagamestudio.com/" target="_blank">Website</a><br /> From Brazilian indie team Hexa Game Studio, Black Iris is an action RPG that takes inspiration from the Dark Souls series of games and Bloodborne. Black Iris in development for PC and console. <br /> <br /> INDEPENDENT GAME / AR: <strong>BOT-NET by Calvin Labs</strong> – <a href="https://www.calvinlabs.com/" target="_blank">Website</a><br /> BOT-NET is a game that turns physical space into a first-person battlefield using a mobile device’s AR features. Massive robots fight while the player engages in ground combat with smaller robots. BOT-NET is available in the <a href="https://itunes.apple.com/us/app/bot-net/id1397137808?mt=8" target="_blank">App Store</a>.<br /> <br /> FILM / CINEMA: <strong>Cine Tracer by Matt Workman</strong> – <a href="https://store.steampowered.com/app/904960/Cine_Tracer/" target="_blank">Steam</a><br /> Developed by Matt Workman of <a href="https://www.youtube.com/channel/UCnw2-4hXY26-W2w9Ja9GBvw" target="_blank">Cinematography Database</a>, Cine Tracer is a realistic cinematography simulator in which the player operates real world-based cameras, sets up lights, and directs talent within UE4 environments. Matt frequently livestreams Cine Tracer development at <a href="https://www.twitch.tv/cinegamedev" target="_blank">https://www.twitch.tv/cinegamedev</a>. Creatives can use Cine Tracer to communicate lighting, cameras and storyboarding, and it’s available in Early Access on <a href="https://store.steampowered.com/app/904960/Cine_Tracer/" target="_blank">Steam</a>. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/EDeF5cZqkks" width="100%"></iframe></div> INDEPENDENT GAME: <strong>Close to the Sun by Storm in a Teacup</strong> – <a href="http://www.closetothesungame.com/" target="_blank">Website</a><br /> Developed by Rome-based Storm in a Teacup, Close to the Sun is a first-person horror game that takes place in an alternate version of history in the 1890s aboard a mysterious ship complex created by Nikola Tesla where things are not as they seem. With numerous indie game accolades already under its belt, Close to the Sun is coming to PC and console in 2019.<br /> <br /> TOOL / PLUGIN:<strong> coreDS Unreal by ds.tools</strong> – <a href="https://www.ds.tools/products/hla-dis-unreal-engine-4/" target="_blank">Website </a><br /> <a href="https://www.ds.tools/products/hla-dis-unreal-engine-4/" target="_blank">coreDS</a><a href="https://www.ds.tools/products/hla-dis-unreal-engine-4/" target="_blank"> Unreal</a> facilitates integration of both High-Level Architecture (HLA) and Distributed Interactive Simulation (DIS) in UE4 games and applications. Users can integrate once and support HLA and DIS without any other modifications to their UE4 application. coreDS Unreal provides an extensive feature set that eases the integration process, allowing for reduced implementation time, flexibility and highly customizable simulation behavior.<br /> <br /> INDEPENDENT GAME: <strong>Farm Folks by Overgrown</strong> – <a href="https://www.youtube.com/watch?v=5ZsSp6eYjRU" target="_blank">Trailer</a><br /> Farm Folks is a <a href="https://www.kickstarter.com/projects/bisonbit/farm-folks?ref=bq44wv" target="_blank">successfully crowdfunded</a> farming simulator game with a nod to the classic Harvest Moon series. Players can explore Softshoal Island, grow crops, raise livestock, build relationships and more – all the while uncovering the island’s mysteries. Farm Folks, coming to PC, is available for pre-order on <a href="https://crytivo.com/en/farm-folks" target="_blank">Crytivo</a>. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/jvbudNhZc30" width="100%"></iframe></div> INDEPENDENT GAME / VR: <strong>Jupiter & Mars by Tigertron </strong>– <a href="https://www.tigertron.eco/jam" target="_blank">Website</a><br /> <a href="https://www.tigertron.eco/jam" target="_blank">Jupiter & Mars</a> is an underwater adventure game for PlayStation 4 and PlayStation VR with a powerful message around climate change set in a shocking, future world inspired by ecological events happening now. The player controls Jupiter, a dolphin with enhanced echolocation powers, traveling around the world with AI companion Mars to disable the man-made machinery disrupting marine life, while solving puzzles and encountering magnificent creatures along the way. <br /> <br /> INDEPENDENT GAME / VR: <strong>Kaisuo by USC Games</strong> – <a href="https://www.youtube.com/watch?v=83T7bs8Cfgo" target="_blank">Trailer</a><br /> <a href="https://www.kaisuogame.com/" target="_blank">Kaisuo</a> is a VR puzzle game in which players use fine motor dexterity to solve enigmatic Chinese puzzle boxes and unlock surreal, extraordinary spaces. Originally founded as an undergraduate student project named Lantern (now the name of the development team) at the University of Southern California, Kaisuo has been showcased at events such as the USC Games Expo and Indiecade @ E3, and is in development through the USC Bridge incubator program for full release on the Oculus and Steam stores.<br /> <br /> INDEPENDENT GAME: <strong>Koral by Pantumaca Barcelona</strong> – <a href="https://store.steampowered.com/app/896750/Koral/" target="_blank">Steam</a> <br /> Developed by <a href="https://twitter.com/CarlosGameDev" target="_blank">Carlos Coronado</a>, one of Barcelona’s leading UE4 experts, this beautiful PC game takes players on a dive through the underwater world where they play as the current on a mission to revive coral reefs. Solving puzzles heals the reefs and replenishes the ocean’s magic. In addition, Carlos&#39; new training materials on going from zero to expert in UE4 have marked Udemy&#39;s most successful launch of a <a href="https://www.udemy.com/desarrollo-de-juegos-con-unreal-engine-4-de-0-a-profesional/" target="_blank">Spanish game development course</a> in the site&#39;s history.<br /> <br /> FINE ARTS / VR: <strong>Lemieux Pilon 4D Art</strong> – <a href="http://4dart.com/en/" target="_blank">Website</a><br /> The renowned duo of Michel Lemieux and Victor Pilon (4D Art) are creating an immersive museum art piece for virtual reality using UE4.  <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/qtgEUX9GcB4" width="100%"></iframe></div> INDEPENDENT GAME / VR: <strong>Mini World VR by Scaena Studios</strong> – <a href="https://www.scaenastudios.com/miniworld" target="_blank">Website</a><br /> From Korea’s award-winning Chung Ang University 3D VR Lab, Scaena Studios’ Mini World VR is an immersive storytelling experience featuring elaborate hand-animated characters, game-based elements and intuitive interactivity. A cross between a game and a film, Mini World VR can be experienced from the perspective of both player and audience. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/xNX8tZbmUcQ" width="100%"></iframe></div> INDEPENDENT GAME: <strong>Mowin’ & Throwin’ by House Pixel Games</strong> – <a href="https://store.steampowered.com/app/762030/Mowin__Throwin/" target="_blank">Steam</a><br /> Available via Steam Early Access, <a href="http://indiemegabooth.com/project/mowin-throwin/" target="_blank">Mowin&#39; & Throwin&#39;</a> is a local multiplayer mashup of Bomberman meets Splatoon with a dash of Overcooked. Players control lawn gnomes in a race to wreck their opponent&#39;s yard while keeping their own pristine. Victory goes to the best looking lawn! Mowin’ & Throwin’ is coming to party game collections for Nintendo Switch, PlayStation 4 and Xbox One in 2019. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/LDU_Txk06tM" width="100%"></iframe></div> FILM / CINEMA: <strong>Music Videos by Noisestorm</strong> – <a href="https://soundcloud.com/noisestorm" target="_blank">SoundCloud</a><br /> Irish music producer and artist <a href="https://twitter.com/noisestormmusic?lang=en" target="_blank">Noisestorm</a> uses UE4 to create incredibly striking videos to accompany his musical tracks, which are often associated with trap, drum and bass, electro and dubstep. Now with nearly 10 million views, <a href="https://youtu.be/LDU_Txk06tM" target="_blank">Crab Rave</a> features thousands of CG crabs gathering after a tropical storm to dance it out. Noisestorm’s latest release, <a href="https://youtu.be/86zIPEa5GhI" target="_blank">Breakout</a> (feat. Foreign Beggars), depicts a tactical prison break with intense firefights, massive explosions, a high-energy helicopter chase and an amazing sniper shot. <br /> <br /> TOOL / PLUGIN: <strong>Optim by Theia Interactive</strong> – <a href="https://theia.io/optim/" target="_blank">Website</a><br /> Currently in alpha, the Optim plugin applies an accelerated workflow methodology to Unreal Engine&#39;s Datasmith suite of tools and services for enterprise markets. Leveraging the efficiency of Datasmith and the power of Python, artists and designers can use Optim to visualize and customize their Datasmith import process for further optimization.<br /> <br /> INDEPENDENT GAME / VR:<strong> Planetrism VR by Planetrism Team</strong> – <a href="https://youtu.be/4AOsE57FAks" target="_blank">Gameplay</a><br /> The future of humankind leads to the distant stars in this VR and PC adventure developed by Finnish duo Kimmo Kaunela and Mike Laaksonen. In Planetrism, players follow the opportunity of a lifetime to lead colonization on an uncharted planet, encountering untold mysteries while building a future for generations to come.<br /> <br /> ARCHITECTURE / VR: <strong>Real Estate in Virtual Reality by REinVR</strong> – <a href="https://www.reinvr.com/" target="_blank">Website</a><br /> The real estate technology team at REinVR is focused on using UE4 to build advanced immersive consumer buying experiences using digital humans, AI and VR. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/XZg6UhaJ0PY" width="100%"></iframe></div> INDEPENDENT GAME: <strong>Risk One’s Neck by Royce Games</strong> – <a href="https://www.riskonesneck.com/" target="_blank">Website</a><br /> Developed by Korean indie team Royce Games for PC and consoles, Risk One&#39;s Neck is a vintage arcade-style beat &#39;em up game set in a brutal, realistic urban environment. An homage to the Capcom arcade fighters of the 1980s, Risk One’s Neck channels thrilling gameplay for players of all skill levels. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/PQEbYu9a_i8" width="100%"></iframe></div> FILM / CINEMA: <strong>Robots’ Design Academy by Eric Liu </strong>– <a href="https://www.unrealengine.com/en-US/blog/stunning-student-film-short-showcases-the-creative-power-of-unreal-engine" target="_blank">Blog</a><br /> A student film by Eric Liu, this 12-minute cinematic highlights the art of the possible when a single person sets out to do something wonderful. Powered by the drive and passion to create something spectacular, Eric created a wordless tale about creativity and daring to be different. It follows a robot student learning to design after most of humanity has become extinct from some unknown apocalypse. Dismayed by the institution’s insistence on strictly copying human creations perfectly, the droid protagonist sets out to design something bold and unique with the help of a newfound human pal.<br /> <br /> LEARNING RESOURCE: <strong>Russian UE4 Lessons and Community</strong> - <a href="http://uengine.ru/" target="_blank">Website </a>– <a href="https://www.youtube.com/channel/UCLbkGIcYJxxL0tciH9RVebg" target="_blank">YouTube</a> <br /> This incredible volunteer-driven resource for the Russian development community has been in operation since the public launch of UE4 in 2014. Featuring translations of exhaustive release notes for dozens of major engine updates, along with hundreds of localized tutorials -- all created independently, and freely shared online -- the group has well over 50,000 members across their networks, which also include popular Unreal Engine <a href="https://discord.gg/bxPEtsZ" target="_blank">Discord </a>and <a href="https://vk.com/uengine" target="_blank">VK</a> channels. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/ZgVJL-KR3og" width="100%"></iframe></div> INDEPENDENT GAME: <strong>S.O.N by RedG Studios</strong> – <a href="https://www.redgstudios.com/" target="_blank">Website</a> <br /> S.O.N is a modern-day psychological survival horror game in which a father searches for his son who has gone missing deep in the Pennsylvania forest, better known as South Of Nowhere. In a world where fear takes control and the past is never erased, questions linger around what demons will be faced to get back a loved ones. S.O.N is coming to PlayStation 4. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/NNReODdPf84" width="100%"></iframe></div> INDEPENDENT GAME: <strong>Spellbreak by Proletariat Inc. </strong>–  <a href="https://playspellbreak.com/" target="_blank">Website</a><br /> With talent from game studios such as Harmonix, Turbine and Insomniac, Proletariat is bringing a magical twist to battle royale. Currently in pre-alpha on PC, Spellbreak puts a new spin on the genre with its fantasy art style and powerful magic spells that can be explosive when used in combat.<br /> <br /> FILM / CINEMA: <strong>The Abyss by Kemal G&uuml;nel</strong> – <a href="https://www.youtube.com/watch?v=z38bVP5Cq0s" target="_blank">Video</a><br /> This real-time short film depicts an ominous scenario aboard a desolate spaceship. Built using <a href="https://www.unrealengine.com/marketplace/profile/Kemal+Gunel" target="_blank">Kemal’s assets</a> that are available on the Unreal Engine Marketplace, the project is also the basis for his popular <a href="https://www.youtube.com/playlist?list=PLCRJGDO3d1kv2LhVh19zqCkGFOK7in14x" target="_blank">UE4 Lighting tutorial series</a>, which has 35 videos and counting. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" scrolling="no" src="https://www.youtube.com/embed/0ru30QgpAr8" width="100%"></iframe></div> INDEPENDENT GAME: <strong>The Cycle by YAGER</strong> - <a href="https://thecycle.game/" target="_blank">Website</a><br /> Currently in Closed Alpha, The Cycle is the latest FPS game from Berlin-based <a href="https://www.yager.de/" target="_blank">YAGER</a>. Up to 20 players go head to head to fulfill contracts during matches about 20 minutes in length. The Cycle is planned for PC release in early 2019 with support for consoles to follow.<br /> <br /> AR / VR: <strong>The Hydrous presents: Immerse</strong> – <a href="https://www.thehydro.us/" target="_blank">Website</a><br /> <a href="https://twitter.com/jasonmcguiganvr" target="_blank">Jason McGuigan</a> and his team at Horizon Productions have been on the bleeding edge of XR for several years, with a library of AR and VR projects built with UE4 under their belt. A pre-release version of Immerse took the stage at the recent Trojan Horse Was a Unicorn gathering in Malta presented by Dr. Erika Woolsey, CEO of the Hydrous. The Hydrous’ mission is to create open access oceans by bringing conservation education to the masses. Horizon also presented a high-fidelity VR art gallery created in Unreal Engine that featured almost 100 paintings by some of the world’s leading digital artists.<br /> <br /> FINE ARTS / VR: <strong>The Kremer Collection Virtual Museum</strong> – <a href="http://moyosamedia.com/portfolio/the-kremer-collection/" target="_blank">Website</a><br /> Designed by architect Johan van Lierop, Founder of Architales and Principal at Studio Libeskind, the Kremer Museum features 17th Century Dutch and Flemish Old Master paintings from the Kremer Collection and is accessible through Viveport, Steam and Oculus. <br /> <br /> TOOL / PLUGIN: <strong>Tools and Plugins by VR Professionals</strong> – <a href="https://youtu.be/m6ZEJTuQPdU" target="_blank">Video</a> – <a href="http://vr-professionals.com/" target="_blank">Website</a><br /> Russia-based VR Professionals are on a mission to create more affordable and accessible “out of the box” solutions for VR training and education using UE4. Having identified a desire for UE4 apps to be more deeply integrated into enterprise ecosystems, e.g., SQL databases, analytics, reports, LMS and CRM systems, VR Professionals are developing UE4 tools and plugins to help organizations streamline their use of B2B apps faster and with lower costs. <br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" scrolling="no" src="https://www.youtube.com/embed/lXZhgkNFGfM" width="100%"></iframe></div> FILM / CINEMA: <strong>Unannounced project by Kite & Lightning</strong> - <a href="https://kiteandlightning.la/" target="_blank">Website</a><br /> The recipient of the 2018 SIGGRAPH Best Real-Time Graphics and Interactivity Award at the recent Real-Time Live! showcase, Kite & Lightning wowed audiences with the presentation “Democratizing Mocap: Real-Time Full Performance Motion Capture with an iPhone X, Xsens, IKINEMA and Unreal Engine.” This Unreal Dev Grant is given in support of new breakthroughs in live performance-driven entertainment. <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" scrolling="no" src="https://www.youtube.com/embed/EVxnt54dCsE" width="100%"></iframe></div> INDEPENDENT GAME: <strong>Unbound: Worlds Apart by Alien Pixel Studios</strong> – <a href="https://store.steampowered.com/app/814680/Unbound_Worlds_Apart/" target="_blank">Steam</a><br /> Unbound: Worlds Apart is an atmospheric 2D puzzle platformer in which the player can conjure magic portals to travel between different realities and learn more about a catastrophe that has ravaged his world. Inside certain portals, the physical properties of the character or world elements can change, offering new gameplay possibilities. A dark fairy tale with a cartoonish style, Unbound: Worlds Apart is planned for release on PC and consoles in 2020.<br /> <br /> TOOL / PLUGIN:  <strong>VR Cataract Training Solution by Surgical Mind</strong> – <a href="https://youtu.be/NzolgT015xw" target="_blank">Video </a><br /> Surgical Mind, a branch of Korea-based <a href="http://www.maniamind.com">Mania Mind</a>, is developing a cutting-edge VR simulator for cataract surgery to enable medical residents to better hone their skills before getting near an eye. Their team maintains that VR simulation training improves performance, minimizes risk and provides greater detail around potential scenarios more efficiently than expensive physical simulators.  <br /> <br /> <br /> To learn more about Unreal Dev Grants and to apply, visit: <a href="http://unrealengine.com/unrealdevgrants" target="_blank">http://unrealengine.com/unrealdevgrants</a><br />  gamescommunitynewsenterprisevrfilm and televisionarmobileeducationDana CowleyThu, 08 Nov 2018 15:45:00 GMThttps://www.unrealengine.com/blog/epic-games-announces-over-800k-in-unreal-dev-grantshttps://www.unrealengine.com/blog/epic-games-announces-over-800k-in-unreal-dev-grantsExperience What’s New in Unreal Studio 4.21 Beta Today!Want to lower your production costs and beat your deadlines, while dazzling your clients with photorealistic real-time interactivity and mind-blowing immersive experiences? With Unreal Studio 4.21, your job just got a whole lot easier.<br /> <br /> The latest version of our free beta is bursting with new features to streamline your workflows and supercharge your presentations. Here are some of the highlights:<br /> <br /> <strong>Datasmith for Revit</strong><br /> <br /> Building on the frictionless data import workflows for 3ds Max, SketchUp Pro, and a host of CAD formats we’ve previously released, we’ve extended Datasmith to add an exporter for Autodesk Revit. You can import the files it produces directly into Unreal Engine. Now you can connect the most popular BIM tool to the most popular real-time visualization solution—without the time-consuming process of using an intermediary solution. <br /> <br /> <strong>Enhanced 3ds Max Material Translation</strong><br /> <img alt="blog_body_img1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fexperience-what-s-new-in-unreal-studio-4-21-beta-today%2Fblog_body_img1-1600x976-a13f23d2f0074cd3d1f81e46d169c7eca3f584c9.jpg" width="100%" /><br /> Unreal Studio 4.21 sees improved BRDF matching from V-Ray materials (especially for metal and glass); we’ve also added support for most commonly used 3ds Max maps, for improved visual fidelity and reduced rework. In addition, we’ve added the ability to translate 3ds Max material graphs to Unreal graphs on export, making the materials easier to understand and work with.<br /> <br /> <strong>Jacketing and Defeaturing</strong><br /> <img alt="blog_body_img2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fexperience-what-s-new-in-unreal-studio-4-21-beta-today%2Fblog_body_img2-1600x976-548c18b186200f340614c89a98487226831546b8.jpg" width="100%" /><br /> Traditionally, it can take a bit of work and time to prepare and optimize a complex CAD model for real-time performance. With Unreal Studio 4.21, we’ve added new features such as jacketing, which automatically hides or removes unseen elements, and defeaturing, which lets you remove unnecessary details—like through-holes, blind holes, and protrusions—with a few mouse clicks.<br /> <br /> <strong>Pixel Streaming</strong><br /> <br /> The new Pixel Streaming feature in Unreal Engine 4.21 lets you host a packaged Unreal Engine application—such as a product configurator or a training application—on a cloud-based GPU or on a local server, and stream the viewport directly to most modern web browsers on any platform, even mobile devices, at high quality. Clients can interact with the application and send back events to the Engine without the need to download or install any additional software.<br /> <br /> <strong>Multi-User Viewer Project Template</strong><br /> <br /> Interested in exploring collaborative internal design reviews? Now you can easily connect multiple users together in a real-time environment, via desktop or VR, thanks to a ready-to-use project template for Unreal Studio 4.21. The template offers avatar replication, various navigation modes, and the ability to point with a virtual laser—simply drop in your design to get started.<br /> <br /> <strong>Enhanced Live-Action Video I/O</strong><br /> <br /> There are now more options in Unreal Engine 4.21 for synchronizing live-action and CG elements, with new support for BlackMagic video cards; improved media I/O; and better ways to work with Genlock and Timecode. In addition, you can now record incoming video to disk as a Sequencer track, and capture final mixed audio to a single file when rendering out.<br /> <br /> But wait, there’s more! <ul> <li><strong>More Datasmith Formats:</strong> We’ve added DWG, Alias Wire, VRED, and DELTAGEN to the range of files you can import into Unreal Engine.</li> <li><strong>Improved MDL and AxF Import:</strong> We’ve simplified the workflow for importing and reimporting NVIDIA MDL and XRite AxF files. We’ve also improved the shading fidelity.</li> <li><strong>Enhanced Mesh Clean-up:</strong> We’ve extended the range of operations you can perform directly within the Static Mesh Editor, instead of needing to go back to a source application.</li> <li><strong>Variant Manager:</strong> Create and edit variants of your asset, and activate or deactivate them in the Unreal Editor or at runtime for design review or marketing of configurable products.</li> <li><strong>Sun Position Calculator:</strong> You can now set the position of the Sun in Unreal Engine 4.21 based on your design’s intended location, and for a specific time and date.</li> </ul> <br /> <a href="https://www.unrealengine.com/en-US/studio/features" target="_blank">Learn more about all the new features</a><br /> <br /> In case you missed our <a href="https://www.unrealengine.com/en-US/blog/unreal-studio-beta-extended">announcement</a>, we’ve extended the free beta of Unreal Studio for another year, so there’s plenty of time to find out how it can help you bring your designs to life, and tell your stories in new and compelling ways.<br /> <br /> <a href="https://www.unrealengine.com/en-US/studio" target="_blank">Download Unreal Studio 4.21</a>enterpriseKen PimentelWed, 07 Nov 2018 15:30:00 GMThttps://www.unrealengine.com/blog/experience-what-s-new-in-unreal-studio-4-21-beta-todayhttps://www.unrealengine.com/blog/experience-what-s-new-in-unreal-studio-4-21-beta-todayHow Real-Time Tech is Reinventing M&E Pipelines: New Forrester ReportAt Epic Games, we believe that the opportunity for architects, manufacturers, media and entertainment companies, and designers to transform their businesses through real-time technology is huge. To get a reading on the pulse, and to see where things may be heading, we commissioned leading global analyst Forrester Consulting to conduct an <a href="http://cdn2.unrealengine.com/Unreal+Engine%2Fresources%2FEpic-Games-Real-Time-Rendering-TLP_post-production_R3-2f4769b9b2adfca45af876c2f701f65ec6ef1228.pdf" target="_blank">independent study</a>.<br /> <br /> Of the respondents to Forrester’s survey of real-time engine technology decision makers, 35% identified themselves as coming from the media and entertainment sector, including advertising and marketing. Their feedback presents some interesting findings, which we’ve gathered together in a <a href="https://cdn2.unrealengine.com/Unreal+Engine%2Fresources%2F0928---Epic-Games---M%26E-report-V10-0b91b6e6c6cfe9c6f272ec924443e78cc1caddc6.pdf" target="_blank">new report</a>. <br /> <br /> According to Forrester’s research, key drivers for the adoption of real-time technology in this space are the requirements for more effective previsualization and for special effects integration into live-action footage, with 93% of respondents saying these factors both strongly influenced their decisions. Alongside these needs, over 70% cited customer and stakeholder demand for immersive and interactive experiences as an important factor.<br /> <br /> Forrester found that computer-generated imagery (CGI) – previously the preserve of post-production – is now being incorporated both before and during the filming process, as the advent of real-time solutions causes pipelines to be reinvented. The good news seems to be that it’s working: 79% say that real-time technology has revolutionized how they are delivering content to customers, while 77% feel it has equally revolutionized the way they collaborate.<br /> <br /> <img alt="blog_body_img1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-real-time-tech-is-reinventing-m-e-pipelines-new-forrester-report%2Fblog_body_img1-1640x840-30b3f26e0c7ff116443754dd48cf3c1dc2434d7c.jpg" width="100%" /><br /> <br /> The report also contains some fascinating insights from multi-award-winning VFX and content creation studio <a href="http://www.themill.com/" target="_blank">The Mill</a>. Real-Time Supervisor Joji Tsuruga explains how the company is using real-time technology for a wide range of content creation, including AR, MR, and VR experiences, driven by increasing client and end-consumer demand. “The future of all content will be adaptive, reactive, and interactive,” he says.<br /> <br /> Tsuruga is also seeing a significant shift towards using <a href="https://www.unrealengine.com/en-US/programs/virtual-production" target="_blank">virtual production</a> on all VFX-related shoots, and feels that this is just the tip of the iceberg. “The inevitable extension beyond this is to deliver finished films in real time,” he predicts. “This will completely change the way we experience films as, once it is fully real-time, it opens the content up to interactivity.”<br /> <br /> Helping to effect this transition is Unreal Engine, as Tsuruga explains. “We take pride in our high-quality visual content and, when we first started using Unreal Engine, we were amazed by its ability to produce beautiful renders – similar to what we were used to seeing using traditional VFX methods – all in real time.” says Tsuruga.<br /> <br /> <img alt="blog_body_img2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fhow-real-time-tech-is-reinventing-m-e-pipelines-new-forrester-report%2Fblog_body_img2-1640x840-2c54146d8f4fc815bf33df617dd95daf740537ad.jpg" width="100%" /><br /> <br /> Another factor is how familiar the Blueprint node-based visual scripting system feels to artists from traditional VFX backgrounds, making for a shallow learning curve. And Tsuruga loves how much he can do within a single environment with Unreal Engine: “Everything from layout, look development, camera work, simple compositing, editing, audio, and output can all be done directly out of Unreal,” he says.<br /> <br /> All of that adds up to some significant savings in time and cost, allowing the studio to take on projects that simply wouldn’t fit into budgets or schedules using traditional methods. “We’ve found that, by implementing real-time technology into content creation, we can not only manage the workload efficiently but also exponentially expand the possibilities of the creative and deliverables,” Tsuruga tells us. <br /> <br /> You can read the full report: <a href="https://cdn2.unrealengine.com/Unreal+Engine%2Fresources%2F0928---Epic-Games---M%26E-report-V10-0b91b6e6c6cfe9c6f272ec924443e78cc1caddc6.pdf" target="_blank">Pushing the Boundaries of Possibility in Media and Entertainment</a> on our website. <br /> <br /> Feeling inspired to see what real-time technology can do for your pipeline? Download the free beta of <a href="https://www.unrealengine.com/en-US/studio" target="_blank">Unreal Studio</a>, our suite of tools designed for customers outside of the games industry to get the most out of Unreal Engine.arblueprintsfilm and televisionvrBrian PohlFri, 02 Nov 2018 16:30:00 GMThttps://www.unrealengine.com/blog/how-real-time-tech-is-reinventing-m-e-pipelines-new-forrester-reporthttps://www.unrealengine.com/blog/how-real-time-tech-is-reinventing-m-e-pipelines-new-forrester-reportCreating Realistic Digital Humans Using UE4 Livestream RecapThe graphics industry is continually striving to achieve photorealistic visuals. While we&#39;ve largely been able to capture realistic environments, creating believable faces is orders of magnitudes more challenging.<br /> <br /> This is due to the fact that if a digital human looks even slightly off, they can enter what is known as the “uncanny valley,” making faces look eerie. That is why many developers often opt to create highly stylized faces, which circumvents the issue, but doesn’t solve it. <br /> <br /> At Epic, we are tackling this difficult problem head-on. To do so, we had to get a deeper understanding of the human anatomy. We then built new tools that allowed us to create believable digital humans the likes of which the world had never seen in real time. Our <a href="https://www.unrealengine.com/en-US/blog/epic-and-unreal-at-siggraph-2017" target="_blank">Virtual Mike</a>, <a href="https://www.unrealengine.com/en-US/blog/siren-at-fmx-2018-crossing-the-uncanny-valley-in-real-time" target="_blank">Siren</a>, and <a href="https://www.unrealengine.com/en-US/blog/epic-games-and-3lateral-introduce-digital-andy-serkis" target="_blank">Andy Serkis</a> demos exemplify our major graphical breakthroughs. <br /> <br /> In a recent livestream, Senior Character Artist Adam Skutt demonstrated how we created Virtual Mike, which is available for you to download and experiment with through the Epic Games Launcher. <br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/cyqJghINrV4" width="100%"></iframe></div> <br /> Improvements to the way we render skin represents one of the largest leaps we’ve made to advancing real-time digital humans. In the livestream, Skutt walks you through how we took a facial scan of researcher and writer <a href="https://www.fxguide.com/featured/real-time-mike/" target="_blank">Mike Seymour</a>, crafted skin that realistically captures the roughness and oils of the human face and utilized two normal maps to drive detailed facial animations. Highlighting the updated Subsurface Profile Shading Model, which allows skin in Unreal Engine to more believably interact with light, Skutt shares how to solve the fake-looking “CG grey” shadow effect that typically plagues digital humans by also leveraging a Screen Space Irradiance post process material. <br /> <br /> Advanced hair is created by using a mixture of individual splines coupled with innovative techniques that delve into how we blend follicles into the scalp. Finally, Skutt delves into how we create extremely convincing eyes. <br /> <br /> The culmination of all these new rendering tools amounted to a digital face so realistic that, during the livestream, even Skutt had a hard time distinguishing the in-engine render from the real-life reference photo. <br /> <br /> For an in-depth look on how we were able to create lifelike digital humans, make sure to watch the embedded livestream above. For additional information, dig deeper with our <a href="https://docs.unrealengine.com/en-us/Resources/Showcases/DigitalHumans" target="_blank">technical documentation</a> and stay tuned for more content on the subject. <br /> <br /> If you would like to experiment with our Digital Human engine feature sample yourself, make sure to download <a href="https://www.unrealengine.com/en-US/blog/unreal-engine-4-20-released" target="_blank">Unreal Engine 4.20</a> for free today and check it out through the Learn tab within the Epic Games Launcher.enterprisefilm and televisionJimmy ThangFri, 02 Nov 2018 13:00:00 GMThttps://www.unrealengine.com/blog/creating-realistic-digital-humans-using-ue4-livestream-recaphttps://www.unrealengine.com/blog/creating-realistic-digital-humans-using-ue4-livestream-recapNew Free Content Coming to the Unreal Engine MarketplaceWe are partnering with Unreal Engine Marketplace creators to offer select content to the UE4 community for free to give artists, designers and programmers even more resources at no additional cost.<br /> <br /> Beginning today, the following content will be free to download throughout the month of November. Once you’ve acquired this content, it’s yours to use forever! <h2><strong>November’s Featured Free Content:</strong></h2> <h2><a href="https://www.unrealengine.com/marketplace/watermill-environment" target="_blank">WaterMill Environment</a> - SilverTm</h2> <h3 style="text-align: center;"><img alt="01_WaterMill_SilverTM.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F01_WaterMill_SilverTM-1920x1080-9ab279d050469e2d1bd9dd0c3208add39202edd5.png" style="text-align: center; font-size: 13px; height: 433px; width: 770px;" /></h3> <div style="text-align: center;"><em>Low-poly pack for creating fantasy environments</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/polygon-city-pack" target="_blank">POLYGON - City Pack</a> - Synty Studios</h2> <div style="text-align: center;"><img alt="02_PolygonCity_SyntyStudios.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F02_PolygonCity_SyntyStudios-1920x1080-bbc050934558a9649f51801261d4f43720d22ef0.png" style="height: 433px; width: 770px;" /><br /> <em>An urban city-themed asset pack</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/dead-hills-landscape" target="_blank">Dead Hills Landscape v2.0</a> - Pixel Perfect Polygons</h2> <div style="text-align: center;"><img alt="03_DeadHills_PixelPerfectPolygons.jpg" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F03_DeadHills_PixelPerfectPolygons-1920x1080-e1eedddc7d7d7805652623dc026ff87b1006a024.jpg" style="height: 433px; width: 770px;" /> <br /> <em>A 64 square kilometer open landscape</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/desert-dragon" target="_blank">DESERT DRAGON</a> - PROTOFACTOR INC</h2> <div style="text-align: center;"> <img alt="04_DesertDragon_Protofactor.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F04_DesertDragon_Protofactor-1920x1080-050cbed413e51844fb241a95f6bab608ab82665b.png" style="height: 433px; width: 770px;" /><br /> <em>A beautifully detailed desert dragon</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/advancedmagicfx13" target="_blank">Advanced Magic FX 13</a> - Kakky</h2> <div style="text-align: center;"> <img alt="05_AdvancedMagic_Kakky.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F05_AdvancedMagic_Kakky-1920x1080-6d9adf92f1617f7b1578965a30a7741c3bf5e3ea.png" style="height: 433px; width: 770px;" /></div> <div style="text-align: center;"><em>A variety of visual effects for magic spells and attacks</em></div> <br /> In addition to the above, the following assets are now permanently available for free in the Marketplace. <h2><strong>New Permanently Free Content:</strong></h2> <h2><a href="https://www.unrealengine.com/marketplace/2d-graveyard-pack-handcrafted-art" target="_blank">2D Graveyard Pack Handcrafted Art</a> by Robin Ekeheien</h2> <div style="text-align: center;"><img alt="06_2D_Graveyard_Screenshot_1.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F06_2D_Graveyard_Screenshot_1-1920x1080-14038c0a814a067ce0d0aaf8f69ecae9c36bdcac.png" style="height: 433px; width: 770px;" /><br /> <em>A collection of high-quality, stylized 2D graveyard assets</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/advanced-village-pack" target="_blank">Advanced Village Pack</a> by Advanced Asset Packs</h2> <div style="text-align: center;"><img alt="07_AdvancedVillagePack_AdvancedAssetPacks.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F07_AdvancedVillagePack_AdvancedAssetPacks-1920x1080-40a565c3850fa540502219e95ed1ed4c2d985155.png" style="height: 433px; width: 770px;" /><br /> <em>A collection of assets to build a small village</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/17c2d7d545674204a7644c3c0c4c58ba" target="_blank">Animal Variety Pack</a> by Protofactor</h2> <div style="text-align: center;"><img alt="08_Animal_Variety_Pack_Screenshot_1.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F08_Animal_Variety_Pack_Screenshot_1-894x488-a8af9613796357e230d684b7ab51a7e0bf35bd6f.png" style="height: 420px; width: 770px;" /><br /> <em>An animal pack to bring your levels to life</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/arch-vis-polish-pack-01" target="_blank">Arch Vis Polish Pack #2</a> by Warren Marshal</h2> <div style="text-align: center;"><img alt="09_ArchVisPolishPack02_Screenshot_1.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F09_ArchVisPolishPack02_Screenshot_1-1920x1080-1705690c09d6069abb96b670d14ad5cc02a96362.png" style="height: 433px; width: 770px;" /><br /> <em>A series of decorative Arch Viz meshes</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/fantasy-orchestral-music" target="_blank">Fantasy Music Pack</a> by Taylor Brook</h2> <div style="text-align: center;"><img alt="10_FantasyOrchestral_Screenshot_1.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F10_FantasyOrchestral_Screenshot_1-1920x1080-8f2f9cbbc4f09cf3d1939c699f1f5b586220b35d.png" style="height: 433px; width: 770px;" /><br /> <em>A collection of orchestral music created for a variety of fantasy settings</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/fps-weapon-bundle" target="_blank">FPS Weapon Bundle</a> by Deadghost Interactive</h2> <div style="text-align: center;"><img alt="11_FPS_Weapon_Bundle_Screenshot_02.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F11_FPS_Weapon_Bundle_Screenshot_02-1920x1080-25c90a123e848fece32bd4271ad393a65afe3ed8.png" style="height: 433px; width: 770px;" /><br /> <em>A weapons bundle optimized for first-person games</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/human-vocalizations" target="_blank">Human Vocalizations</a> by Gamemaster Audio </h2> <div style="text-align: center;"><img alt="12_Human_Vocal_screenshot_01.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F12_Human_Vocal_screenshot_01-1920x1080-7228e7deacd09c50670d6fbab3bfdeb82973c124.png" style="height: 433px; width: 770px;" /><br /> <em>A series of groans, shouts, screams, laughing, crying and more</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/inventory-system" target="_blank">Inventory System</a> by HowtoCompute</h2> <div style="text-align: center;"><img alt="13_Inventory_System_Screenshot_2.PNG" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F13_Inventory_System_Screenshot_2-1333x723-5d745d54b78cdd2a17a70f8e1249da83825d67a3.PNG" style="height: 418px; width: 770px;" /><br /> <em>An advanced drag and drop inventory system</em><br />  </div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/photoreal-background-mountains" target="_blank">Landscape Backgrounds</a> by Gokhan Karadayi</h2> <div style="text-align: center;"><img alt="14_LandscapeBackgrounds_GokhanKaradayi.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F14_LandscapeBackgrounds_GokhanKaradayi-1920x1080-c51595a9c8d1e0e0066156122a55042bc77b0100.png" style="height: 433px; width: 770px;" /><br /> <em>A modular landscape set</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/menu-builder-carousel" target="_blank">Menu Builder Carousel </a>by W3 Studios </h2> <div style="text-align: center;"><img alt="15_Menu_Builder_Screenshot_2.PNG" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F15_Menu_Builder_Screenshot_2-1871x1028-e4b7caa326e8b686eebab6276213c6cddc507c45.PNG" style="height: 423px; width: 770px;" /><br /> <em>A fully-customizable menu system </em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/necro-s-utility-material-pack" target="_blank">Necro’s Utility Material Pack</a> by Necrophob30</h2> <div style="text-align: center;"><img alt="16_NecrosUtilityMatPack_NecroPhob30.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F16_NecrosUtilityMatPack_NecroPhob30-1920x1080-a0d2bba96c236607e7674cae0014cad16aaa4dc2.png" style="height: 433px; width: 770px;" /><br /> <em>A collection of parameterized master materials</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/7f7775996f7442b187f6fa510ec9d289" target="_blank">Quadruped Creature Variety Pack</a> by Protofactor </h2> <div style="text-align: center;"><img alt="17_QuadrapedFantasyCreatures_Screenshot_1.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F17_QuadrapedFantasyCreatures_Screenshot_1-894x488-022e8c1b942c2a55b8a2a8201f3f2ed899f70c7a.png" style="height: 420px; width: 770px;" /><br /> <em>A collection of fantasy creatures with character models and animations</em></div> <h2><br /> <a href="https://www.unrealengine.com/marketplace/water-materials" target="_blank">Water Materials</a> by tharlevfx</h2> <div style="text-align: center;"><img alt="18_Water_Materials_Screenshot_1.png" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fnew-free-content-coming-to-the-unreal-engine-marketplace%2F18_Water_Materials_Screenshot_1-1980x1020-8b4ebe1640f427b6e58291819020180ee7c7ae03.png" style="height: 397px; width: 770px;" /><br /> <em>A collection of 12 different water materials featuring oceans, rivers, waterfalls and more </em></div> <br /> Be sure to grab this month’s free content while it’s available and check back in December for a new round of free content.<br /> <br /> Are you a Marketplace creator interested in having your content featured for free to the community? Visit <a href="http://www.unrealengine.com/uesponsoredcontent">unrealengine.com/uesponsoredcontent</a>.<br />  communitynewsmarketplaceAmanda BottThu, 01 Nov 2018 13:30:00 GMThttps://www.unrealengine.com/blog/new-free-content-coming-to-the-unreal-engine-marketplacehttps://www.unrealengine.com/blog/new-free-content-coming-to-the-unreal-engine-marketplaceAnnouncing the Unreal Awards: Experience Design CompetitionWe’re thrilled to announce Unreal Awards: Experience Design, our first enterprise competition for AEC, manufacturing, and product design. Centered around the theme of “experiencing design,” the competition aims to celebrate and showcase top-notch work built with Unreal Studio and Unreal Engine in the enterprise (non-gaming) space.<br /> <br /> Have a knack for designing interactive real-time experiences in Unreal Studio or Unreal Engine? Eager to show off your finest work? We’ve partnered with Allegorithmic and other companies to provide over $70,000 in prizes, including the opportunity for a 1 year Substance subscription as well as $10,000 for the top winner in each category. This is a great way to gain some attention as we’ll be promoting the awards and the results for months to come. <br /> <br /> <img alt="Blog_1200x630.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fannouncing-the-unreal-awards-experience-design-competition%2FBlog_1200x630-1200x630-6d1b48d6b6d4f88f8e1ea2d2c4d4c16d53080281.jpg" width="100%" /><br /> <br /> Here are all the important details:<br /> <br /> <strong>Categories and Prizes</strong><br /> <br /> Submissions will be evaluated and scored on a ten-point scale by a panel of industry judges across three industry categories, with the top three highest scoring entrants in each category winning a portion of over $70,000 in prizes. We’re accepting submissions for the following categories: <p></p> <ul> <li>Architecture, engineering, and construction</li> <li>Product design</li> <li>Manufacturing</li> </ul> <p>Each submission will be evaluated based on the level of innovation demonstrated and the quality of the visuals. We’re looking for eye-catching visual fidelity and breathtaking scope and scale. Basically, we want to see your most innovative and visually stunning design experiences brought to life in Unreal Engine!</p> The top three winning entries in each category will receive a cash reward along with incredible prizes donated from our generous sponsors: <a href="https://www.allegorithmic.com/" target="_blank">Allegorithmic</a>, <a href="https://www.esri.com/en-us/arcgis/products/esri-cityengine/overview" target="_blank">Esri</a>, <a href="https://secure.axyz-design.com/" target="_blank">AXYZ design</a>, and <a href="https://www.turbosquid.com/" target="_blank">TurboSquid</a>!<br /> <br /> <strong>How to Submit</strong><br /> <br /> To submit your Unreal Engine project, you’ll need to create a video showcasing your work, which should include a short screen-captured segment showing your project in the Unreal Engine 4 Editor.<br /> <br /> Once you have that ready, you can <a href="http://unrealawardsexperiencedesign.com/" target="_blank">complete a submission form</a> and send everything in. Upon review, we may also request you submit an executable file. You are free to make multiple submissions in the same or different categories.<br /> <br /> Ready to show us your best example of “experiencing design” in Unreal Engine? Be sure to submit your project by the <strong>January 20, 2019</strong> deadline cutoff!<br /> <br /> <strong>About Unreal Studio:</strong><br /> <br /> Unreal Studio combines the power of Unreal Engine with the workflow tools needed to accelerate the process of creating stunning real-time visuals for architecture, product design and manufacturing, while reducing iteration time through efficient transfer of CAD, 3ds Max and SketchUp data into Unreal Engine.<br /> <br /> Don’t have Unreal Studio yet? <a href="https://www.unrealengine.com/en-US/studio" target="_blank">Sign up now</a> to participate in the competition!communityenterprisenewseventsdesignKen PimentelThu, 01 Nov 2018 13:00:00 GMThttps://www.unrealengine.com/blog/announcing-the-unreal-awards-experience-design-competitionhttps://www.unrealengine.com/blog/announcing-the-unreal-awards-experience-design-competitionJoin the Unreal Enterprise Team at Autodesk University 2018Autodesk University is back for another exciting year! Planning on attending? We’d love to have you join us to experience the future of interactive design with the latest real-time technology. <br /> <br /> AU 2018 is from November 13 to 15 at the Venetian Hotel in Las Vegas. You’ll find the Unreal Enterprise Team at Unreal Engine Booth #A443 on the show floor, presenting theater talks from some of our most innovative customers, an immersive Barco CAVE showcasing Reynaers’ architectural configurator, a range of exciting Epic and partner demos, and much more. <br /> <img alt="blog_body_img1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjoin-the-unreal-enterprise-team-at-autodesk-university-2018%2Fblog_body_img1-1640x1000-f7b49290e495b61034f98a807ce0f20e380ad339.jpg" width="100%" /> <h2><strong>At the Unreal Engine Booth</strong></h2> <br /> Here’s a quick look at what we have planned for our booth (Booth #A443):<br /> <br /> <br /> <strong>Customer and Partner Theater Presentations </strong>- Throughout the event, we’ll be featuring presentations and theater talks from top creative teams using Unreal Engine and Unreal Studio. Guest speakers from <strong>HALVR</strong>, <strong>Kilograph</strong>, <strong>Neoscape</strong>, <strong>Steelcase</strong>, <strong>CallisonRTKL</strong>, and more will share how they’re using UE4 to innovate in the world of design. The booth will also feature exciting presentations from our partners <strong>NVIDIA</strong>—whose awesome P6000 cards are powering our workstations—plus, <strong>Theia Interactive</strong> and <strong>Mindesk VR</strong>.<br /> <br /> <br /> <strong>Epic Theater Presentations</strong> - Unreal Studio, a suite of tools for helping architects, product designers, and manufacturers get the most of out Unreal Engine, is constantly evolving. Check out what’s possible in the latest 4.21 version.<br />   <ul> <li><strong>Revit to Unreal Studio</strong> <br /> Join design specialist Daryl Obert, as he guides you through the journey of bringing your high-definition Revit data into Unreal Engine using the time-saving tools in Unreal Studio. The demo will cover importing and working with Revit data in Unreal Studio as well as invaluable features for collaboration and speeding up your workflows.</li> <br /> <li><strong>CAD Data Preparation and Visualization Workflows in Unreal Studio </strong><br /> See how Unreal Studio can accelerate your design visualization workflow with time-saving tools that ensure your data is primed for beautiful real-time rendering. This presentation will also examine the new Non-Photorealistic Rendering (NPR) options available for experiencing your designs with different visual styles.</li> </ul> <strong>Demo Stations</strong> - Discover the latest creative possibilities with Unreal Engine! Our exciting line-up features demos from Chaos Group, Theia Interactive, Mindesk VR, and our own Epic team. Sessions include:<br />   <ul> <li><strong>Industry First! Rhino VR design workflow with Mindesk VR</strong><br /> For the first time, you’ll experience designing with Rhino in VR using the Unreal Editor. The team at Mindesk is exploring the future of conceptual design with UE4.<br />  </li> <li><strong>Optim from Theia Interactive</strong><br /> Theia will be debuting Optim, a Python-based add-on for Unreal Studio that augments the power of Datasmith by providing simple, rule-based optimizations to accelerate data import into UE4.<br />  </li> <li><strong>V-Ray for Unreal from Chaos Group</strong><br /> Join Chaos Group for an introduction to V-Ray for Unreal. See how you can bring V-Ray scenes from 3ds Max, Maya, and SketchUp into the Unreal Editor, and render photorealistic, ray-traced images with V-Ray directly from Unreal.<br />  </li> <li><strong>Project Baku </strong><br /> Witness the incredible level of photorealism and scale Zaha Hadid achieves with Unreal Engine in this breathtaking real-time architectural visualization. <br />  </li> <li><strong>HP VR Launch Kit</strong><br /> Easily incorporate VR development into your design visualization process with a kit that brings together helpful software tools. Show your stakeholders the advantages of VR in a design workflow with the Experience Showcase, featuring a range of VR capabilities such as the cross-sectioning and parts-explosion of complex assemblies.<br />  </li> <li><strong>What’s new in Unreal Studio 4.21</strong><br /> We’ve added support for Revit in this release, but there’s much more to explore. Come check out the latest features and enhancements in Unreal Studio! With extended data import options; accelerated and automated data prep; and new ways to visualize and review your designs in real time, there’s something for everyone.</li> </ul> <strong>RTX Interactive Demo</strong> - The Porsche 911 Speedster Concept is an incredible demonstration of how the combined power of Unreal Engine and the latest NVIDIA RTX graphics cards can produce a complex lighting environment that is indistinguishable from reality. The age of real-time ray tracing has arrived.<br /> <br /> <strong>Barco CAVE</strong> - Get a unique look at the Unreal-powered World of Reynaers configurator in the Barco CAVE at the Unreal booth! The World of Reynaers is a B2B2C application designed to help architects and their customers experience the many potential options for windows and door configurations in a virtual space.<br /> <br /> <strong>Sales Meeting Room</strong> - The Enterprise Team will also have a dedicated meeting room for customers interested in a more in-depth conversation. To book a meeting contact us at epic-at-au@epicgames.com.<br />   <h2>Industry Talks at the Convention</h2> <br /> Beyond the many activities happening at the Unreal Booth, we’re participating in exciting industry sessions happening elsewhere in the convention you won’t want to miss:<br />   <ol> <li><strong>Real-Time CAD Visualization with Unreal Studio</strong> - with Craig Barr [<a href="https://autodeskuniversity.smarteventscloud.com/connect/sessionDetail.ww?SESSION_ID=256565" target="_blank">Wednesday, November, 14, 8:00 AM - 9:00 AM</a>]</li> <li><strong>How Next-Gen Pipelines in Unreal Engine Enable Faster Iteration</strong> - with Ryan Mayeda [<a href="https://autodeskuniversity.smarteventscloud.com/connect/sessionDetail.ww?SESSION_ID=226755" target="_blank">Wednesday, November 14, 8:00 AM - 9:00 AM</a>]</li> <li><strong>3ds Max to Unreal Engine Fundamentals: Introduction to Real-Time Rendering</strong> - with James Butcher [<a href="https://autodeskuniversity.smarteventscloud.com/connect/sessionDetail.ww?SESSION_ID=226954&amp;tclass=popup" target="_blank">Wednesday, November 14, 2:45 PM - 4:15 PM</a> ]</li> <li><strong>Exploration of Nonlinear Design Workflow</strong> - with August Miller, Simon Chavez, Dean Demko of Perkins + Will [<a href="https://autodeskuniversity.smarteventscloud.com/connect/sessionDetail.ww?SESSION_ID=227200&amp;tclass=popup" target="_blank">Tuesday, November 13, 9:15 AM - 10:15 AM</a>]</li> <li><strong>Approaching Photorealism in Virtual Reality</strong> - with George Maestri of LinkedIn Learning [<a href="https://autodeskuniversity.smarteventscloud.com/connect/sessionDetail.ww?SESSION_ID=219682&amp;tclass=popup" target="_blank">Thursday, November 15, 9:15 AM - 10:15 AM</a>]</li> <li><strong>The World’s Largest - Developing Large Urban Designs into Virtual Reality</strong> - with David Weir-Mccall of CallisonRTKL [<a href="https://autodeskuniversity.smarteventscloud.com/connect/sessionDetail.ww?SESSION_ID=224505&amp;tclass=popup" target="_blank">Tuesday, November 13, 10:30 AM to 11:30 AM</a>]<br />  </li> </ol> Planning to attend? Don’t forget to <a href="https://au.autodesk.com/las-vegas/overview" target="_blank">register here</a> and grab more details. We’ll see you there!<br /> <br />  communitydesignenterpriseeventslearningnewsvisualization and trainingvrShera D’SpainWed, 31 Oct 2018 15:47:10 GMThttps://www.unrealengine.com/blog/join-the-unreal-enterprise-team-at-autodesk-university-2018https://www.unrealengine.com/blog/join-the-unreal-enterprise-team-at-autodesk-university-2018SpatialOS GDK for Unreal Now AvailableImprobable has released the new<a href="https://improbable.io/games/blog/spatialos-gdk-for-unreal-launch" target="_blank"> </a><a href="https://improbable.io/games/blog/spatialos-gdk-for-unreal-launch" target="_blank">SpatialOS</a><a href="https://improbable.io/games/blog/spatialos-gdk-for-unreal-launch" target="_blank"> Game Development Kit (GDK) for Unreal Engine</a>, which enables you to use Unreal Engine to create and scale multiplayer online games using the SpatialOS platform. The SpatialOS GDK for Unreal is now available to download for free from the <a href="https://unrealengine.com/marketplace/spatialos-game-development-kit" target="_blank">Unreal Engine Marketplace</a>. <br /> <br /> For those who don’t already know what <a href="https://improbable.io/" target="_blank">SpatialOS</a> is: it’s a platform for creating games that go beyond the limits of a single server, enabling you to implement new kinds of gameplay that would be impossible with the traditional client-server approach. As a fully managed service, it does all of the work required to host, run and scale your game globally while you focus on finding the fun.<br /> <br /> What this means is that if you’re looking to make a multiplayer game using Unreal Engine, you can use the new SpatialOS Game Development Kit for Unreal to tap into Unreal Engine’s networking APIs to turn the client-server architecture into a distributed one, with your game hosted on Improbable’s global cloud platform - and it can be used for new or even existing games.<br /> <br /> <img alt="Spatial_Body_2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fspatialos-gdk-for-unreal-now-available%2FSpatial_Body_2-1920x1080-2eaf22df6307ec53c7b9c854e3e1dea0f0a30141.jpg" width="100%" /><br /> <br /> Released today, the new SpatialOS GDK for Unreal allows you to seamlessly integrate SpatialOS with UE4’s native workflows, replacing Improbable’s older SDK.<br />  <br /> Pre-release versions of the SpatialOS GDK for Unreal are already being used by celebrated game developers. Aaryn Flynn, former General Manager of BioWare, used Unreal Engine to build hits like the Mass Effect trilogy. Now, as Improbable’s General Manager, North America, he and his team are using Unreal Engine to build original demonstrative game content highlighting the unique possibilities of SpatialOS.<br /> <br /> “Developers want technology to enable their vision and enhance their creativity,” said Improbable’s Aaryn Flynn, General Manager, North America. “The new SpatialOS GDK unlocks new possibilities within Unreal Engine, empowering developers to make many game servers work together and act as one in a way that is seamless to players.”<br /> <br /> “To turn your vision into a prototype and iterate on it to make a successful game, you need the best tools,” says Flynn. “I believe that SpatialOS is already transforming how people make and play games and that this GDK smooths the path for developing existing and future games, whether that’s simple multiplayer or something more ambitious and enormous.”<br />  <img alt="Spatial_Thumb.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fspatialos-gdk-for-unreal-now-available%2FSpatial_Thumb-1920x1080-bef4e92339d39a1f6d5b35779e0cb531c4787896.jpg" width="100%" /><br /> Improbable has worked hard to enable Unreal servers to talk to each other using familiar Unreal semantics, enabling you to tap into more computing power than a single server can provide. This opens the door for games with many more players, Actors and gameplay systems than previously possible.<br /> <br /> A key focus of Improbable’s work on the GDK was to keep the workflows and networking APIs familiar to users of Unreal Engine, while introducing new, native-feeling idioms that extend Unreal’s networking. This enables the GDK to retain the functionality of the networking features Unreal offers out of the box: transform synchronization, character movement controller, client-side prediction and so on. It is also a way to retain familiar Unreal Engine development workflows - Blueprints work the same, and the GDK’s iteration speed parallels that of vanilla Unreal Engine.<br />  <br /> The SpatialOS GDK isn’t only useful for new projects; the GDK  was actively designed to support trouble-free porting, so you can deploy your existing Unreal Engine game onto SpatialOS and get it working with <a href="https://docs.improbable.io/unreal/alpha/content/get-started/porting-unreal-project-to-gdk" target="_blank">a few simple steps</a>. This gives you the ease of hosting and managing your online game that comes with SpatialOS, and the freedom to iterate and grow your game based on user feedback, quickly and without limits.<br />  <br /> And, whether your game is built on SpatialOS from the start or ported over, you’ll be able to take advantage of its advanced metrics, logs and our unique World Inspector, to visualise your live game processes and debug them.<br />  <br /> With SpatialOS, you can start small and literally grow your game’s map along with your player count, with SpatialOS scaling the compute power needed behind the scenes. With no worries about technical infrastructure, a game could transition from an arena shooter to a Battle Royale to an open world MMO, with a little careful design.<br />  <img alt="Spatial_Body_3.png" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fspatialos-gdk-for-unreal-now-available%2FSpatial_Body_3-1920x1080-ff82a6851a20b3731c6f3b1f196240c6e4699a8c.png" width="100%" /><br /> Each game type has different needs, so giving you the ability to fine-tune replication frequency and granularity is a priority for making sure you are able to achieve the scale you need.<br />  <br /> Josh Holmes, the co-founder of Midwinter Entertainment and former Creative Director for the Halo franchise, is leading the creation of “co-opetition” survival shooter Scavengers using Unreal Engine and SpatialOS.<br />  <br /> Holmes says: “Our goal with Scavengers is to combine elements like map scale, player numbers and the amount and sophistication of AI enemies to create a new kind of game experience. That made Unreal Engine and SpatialOS a natural choice. Midwinter Entertainment has partnered closely with the team at Improbable to inform the development of the SpatialOS GDK for Unreal. The vision for the GDK is to empower developers to create and support any type or size of game world,  while maintaining the familiarity and ease of use of the Unreal Engine and its workflows.”<br />  <br /> For more details on the technical aspects of the Unreal GDK, <a href="https://improbable.io/games/blog/spatialos-gdk-for-unreal-launch" target="_blank">visit the SpatialOS blog at Improbable.</a><br />  newscommunitymarketplacePaul Thomas, VP of Product Management, ImprobableWed, 31 Oct 2018 14:33:26 GMThttps://www.unrealengine.com/blog/spatialos-gdk-for-unreal-now-availablehttps://www.unrealengine.com/blog/spatialos-gdk-for-unreal-now-availableFloods and Fires: How The Weather Channel Uses Unreal Engine to Keep You SafeAfter grabbing headlines with the <a href="https://www.unrealengine.com/en-US/blog/the-future-group-and-the-weather-channel-create-lightning-and-tornadoes-with-unreal-engine" target="_blank">debut of its immersive mixed reality (MR) content</a>, The Weather Channel (TWC) continues to break new ground with segments on storm surges and wildfires. By plugging behavioral weather data into Unreal Engine, TWC gives viewers an unprecedented true-to-life visual experience of these dangerous weather phenomena. <br /> <br /> In these mixed-reality segments, a presenter stands amid extreme weather situations and explains the changes in the environment as they happen. The result is a visceral sense of what it would be like to actually be there. <br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/x2aCSV5zYlA" width="100%"></iframe></div> <br /> “Immersive mixed reality allows us to take any weather story we want and put the on-camera meteorologist into those environments,” says Michael Potts, VP of Design at TWC.<br /> <br /> Potts cites Unreal Engine as the lynchpin for these segments. “It allows us to create experiences that are hyper realistic. <br /> <br /> Frankly, it’s going to change the way we present the weather.”<br /> <br /> <strong>Remaking Weather Presentation</strong><br /> <br /> The immersive pieces on storm surge and wildfire are the latest in a series that began in June of this year with a mixed-reality experience that had viewers watching a tornado approach TWC’s headquarters. As meteorologist Jim Cantore described the changing dangers of the escalating tornado, a fizzing light pole fell at his feet, followed by a mangled car. Each of these visual events was accompanied by textual graphics to drive home important points about the tornado’s effects.<br /> <br /> “We wanted to launch in a very memorable and bold way,” says Mike Chesterfield, Director of Weather Presentation at TWC.. “We wanted to make a statement that we were transforming weather presentation.” The reaction was immediate, with <a href="https://twitter.com/weatherchannel" target="_blank">TWC’s Twitter feed</a> lighting up with viewer engagement, and thousands of views of the segment on YouTube within a matter of days. <br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/0cODBQqaGTw" width="100%"></iframe></div> <br /> TWC creates such content with the idea that the more informed viewers are, the better they can prepare for, and respond to, any danger coming their way. “One of the main goals for us using this technology and storytelling in this way is to keep people safe,” says Chesterfield. “This way allows them to immediately put themselves in that situation.”<br /> <br /> Next, the team at TWC turned their attention to showing the effects of storm surge, the flooding that results from storms. The team utilized data on the behavior of water and wind during such an event, and incorporated physics calculations to animate water, trees, and other objects in the scene. “I&#39;m able to actually take mathematical formulas and inform a graphic,” says Potts. “That&#39;s what the Unreal Engine allows us to do.”<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/q01vSb_B1o0" width="100%"></iframe></div> <br /> The next project was a stunning piece on wildfire, showing the speed at which a wildfire can spread and devastation that follows. While meteorologist Stephanie Abrams explained how wildfires start and spread, flames shot up around her and animals fled from the growing fire. Seeing it happen in real time illustrates the dangers in a way that a two-dimensional map never could. <br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/9EprnWrMNpw" width="100%"></iframe></div> <br /> The segments are recorded live-to-tape a few hours before airtime. While the meteorologist in a large green-screen room, the physical camera’s position and rotation are synchronized with the viewing angle of the CG background and pop-up textual elements in Unreal Engine. With this workflow, each take is a finished segment with no post production required.<br /> <br /> <strong>The Future of Weather Reporting</strong><br /> <br /> The success of immersive mixed reality with Unreal Engine has TWC thinking into the future, where real forecast data will drive the environments. <br /> <br /> “I love working with this technology,” says Nick Weinmiller, Creative Director at The Weather Channel. “It&#39;s so awesome to see everything so realistic and to be able to inform people in this way.”<br /> <br /> “We’re at the very beginning,” says Chesterfield. “Using this technology will fundamentally change and transform weather presentation at TWC. And our goal is by 2020 to use this technology in 80% of our broadcasts.”<br /> <br /> Want to create your own mixed reality experiences to inform and inspire your viewing public? <a href="https://www.unrealengine.com/studio" target="_blank">Download the free Unreal Studio beta today</a>, and get Unreal Engine along with import tools and a whole lot more!enterprisefilm and televisionnewsarshowcaseAndy BlondinThu, 25 Oct 2018 15:00:00 GMThttps://www.unrealengine.com/blog/floods-and-fires-how-the-weather-channel-uses-unreal-engine-to-keep-you-safehttps://www.unrealengine.com/blog/floods-and-fires-how-the-weather-channel-uses-unreal-engine-to-keep-you-safeGet Unreal Engine Training at the Infinity Film FestivalThe <a href="https://www.unrealengine.com/events/infinity-film-festival-2018" target="_blank">Infinity Film Festival</a> will take place throughout multiple iconic venues in Beverly Hills from Thursday, November 1 to Sunday, November 4, with over 75 hours of screenings and 100 speakers.<br /> <br /> <img alt="FB_InfinityFilmFestival2018.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Funreal-engine-training-at-infinity-film-festival%2FFB_InfinityFilmFestival2018-1200x630-a07cc4c640edafd2a2a8e16199485a840d760c4b.jpg" width="100%" /><br />  <br /> On November 1-2, Epic will host the <a href="https://www.unrealengine.com/en-US/events/infinity-film-festival-2018/join-us-at-the-infinity-film-festival" target="_blank">IFF Tech Lab</a>, which is designed to help those in media and entertainment hone their Unreal Engine skills and techniques. Training will be available on a first come, first serve basis at no extra cost to IFF All-Access pass holders (1-Day and Full Festival). <br /> <br /> In addition, Epic Games CG Studio Supervisor Andrew Harris will present "Empowering Filmmakers with Real-Time Virtual Production" on November 1 to kick off the event.<br />  <br /> Interested in attending? Learn more about the event and get your discounted tickets on our Infinity Film Festival event page <a href="https://www.unrealengine.com/events/infinity-film-festival-2018" target="_blank">here</a>.film and televisioncommunitylearningeventsenterpriseDana CowleyThu, 25 Oct 2018 14:00:00 GMThttps://www.unrealengine.com/blog/get-unreal-engine-training-at-the-infinity-film-festivalhttps://www.unrealengine.com/blog/get-unreal-engine-training-at-the-infinity-film-festivalJoin us for Unreal Academy Enterprise, London<img alt="blog_body_img1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjoin-us-for-unreal-academy-enterprise-london%2Fblog_body_img1-1640x1000-7400acbd2e19b8836a873e8e0c024a6794319aa3.jpg" width="100%" /><br /> Are you ready to join other architects, designers, engineers, producers, and artists already using Unreal Engine to revolutionize the professional creative landscape? Don’t miss out on this value-packed learning and networking experience!<br /> <br /> <strong>Unreal Academy: Enterprise</strong> is a training event for creatives, designers and visualization specialists in the architectural visualization, automotive & aerospace, and media & entertainment fields who are seeking to tap into the potential of using Unreal Engine’s real-time technology.<br /> <br /> Our first-ever European event features three days of keynote speakers, hands-on sessions, expert lectures, and valuable networking opportunities to help you take your design visualizations in Unreal Engine to the next level. Whether you’re an experienced pro or are just getting started with real-time design, Unreal Academy has something for Unreal Engine users of all levels.<br /> <br /> <strong>The event at a glance:</strong> <ul> <li>Three days of classes, lectures, and hands-on training sessions</li> <li>Morning keynotes from Epic and UE4 Enterprise customers</li> <li>Daily giveaways and amazing loot from Epic</li> <li>Evening party for all attendees</li> <li>Breakfast and lunch included </li> <li>Subsidized hotel rooms courtesy of Epic</li> </ul> <br /> <strong>Cost to Attend</strong><br /> Registration for the conference is £100 per attendee. Epic Games will be partially subsidizing the cost of hotel lodging, with attendees paying only 50% of the price for four nights’ accommodation at select hotels.<br /> <img alt="blog_body_img2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fjoin-us-for-unreal-academy-enterprise-london%2Fblog_body_img2-1640x1000-47bc7b9dca70c25b7e8698a1219c2d67936d8cdb.jpg" width="100%" /><br /> <strong>Schedule and Courses</strong><br /> <br /> Choose the sessions you want for achieving your own goals, and register to reserve your seat! Each day’s schedule will kick off with a keynote featuring an exciting line-up of Unreal Engine customers.<br /> <br /> Have other questions about the Unreal Academy Enterprise, London? You’ll find the answers you need in our <a href="https://unrealacademylondon.splashthat.com/img/events/3165580/assets/d14aa6ee.unrealacademylondonfaq-external_final_oct18.pdf" target="_blank">FAQ</a>.<br /> <br /> <strong>Don’t miss out: register today!</strong><br /> <br /> Space is limited, so don’t forget to <a href="https://unrealacademylondon.splashthat.com/" target="_blank">register today</a> to reserve your spot while you can!<br /> <br /> Here’s a look at the full lecture and lab line-up! <h2><strong>Sessions for all industries: </strong></h2> <ul> <li>Unreal Engine Fundamentals</li> <li>Unreal Engine Fundamentals for Unity Developers</li> <li>Unreal Engine for C++ Programmers</li> <li>Building your Career in Real-time - Panel Discussion</li> <li>Introduction to Blueprints</li> <li>Navigation Development in Blueprint: Using & Expanding the Product Viewer Template</li> <li>Product Configurator in Blueprint</li> <li>Procedural Content with Blueprint</li> <li>Blueprint In-Depth</li> <li>Rendering Pipeline and Optimization for Real-time Performance</li> </ul> <h2><strong>Architecture & Visualization sessions:</strong></h2> <strong>Lectures: </strong> <ul> <li>Introduction to Unreal Engine for Architectural Visualization</li> <li>Data Pipelines: Bringing Scene Data into Unreal with 3ds Max and SketchUp</li> <li>Architectural Materials and Lighting</li> <li>Post-processing and Cinematics</li> <li>User Interfaces with Blueprints and UMG</li> <li>Unreal Studio New Features and Datasmith Roadmap</li> </ul>     <br /> <strong>Labs:</strong><br />   <ul> <li>Hands-on Workshop: Arch/Vis Blueprints 1: Introduction - Interactive Display of Information</li> <li>Hands-on Workshop: Arch/Vis Blueprints 2: Navigation - Exploring Your Creations</li> <li>Hands-on Workshop: Arch/Vis Blueprints 3: Scenarios - Day/Night & Room Layout Scenarios</li> <li>Hands-on Workshop: Architectural Visualization Project: Part 1 - Look Development</li> <li>Hands-on Workshop: Architectural Visualization Project: Part 2 - Cinematics</li> <li>Hands-on Workshop: Architectural Visualization Project: Part 3 - Interactive Elements</li> </ul>   <h2><strong>Media & Entertainment sessions:</strong></h2> <br /> <strong>Lectures:</strong> <ul> <li>Setting Up a Real-time Studio - Panel Discussion</li> <li>M&E Case Studies and Technologies - Animation to Virtual Production</li> <li>Live Link in Unreal Engine: Maya, MotionBuilder and Beyond</li> <li>Advanced Look Development for VFX</li> <li>Sequencer Training and World Setup for Cinematic Shot Production</li> <li>VFX and Particle Systems with Unreal Engine</li> <li>Photorealistic Characters using the Digital Humans Sample Project</li> </ul>   <h2><strong>Automotive & Aerospace sessions:</strong></h2> <br /> <strong>Lectures:</strong> <ul> <li>CAD Data Preparation for Automotive & Aerospace</li> <li>Advanced Look Development for Automotive and Aerospace</li> </ul> <br /> <strong>Labs:</strong> <ul> <li>Hands-on Workshop: Automotive 1 - Introduction to Data Prep and Import with Datasmith</li> <li>Hands-on Workshop: Automotive 2 - Intro to Physically-Based Rendering, Materials & Lighting</li> <li>Hands-on Workshop: Automotive 3 - Intro to Optimization and Deployment for Desktop PC</li> <li>Hands-on Workshop: Automotive 4 - Introduction to Blueprint for Configurator Development</li> <li>Hands-on Workshop: Automotive 5 - Interaction - Advanced Material Creation for Automotive Configurator</li> <li>Hands-on Workshop: Automotive 6 - Development of UMG and Deployment of Bike Configurator for Windows</li> </ul> enterpriseeducationeventsdesignvrvisualization and traininglearningarcommunityKen PimentelThu, 25 Oct 2018 13:50:00 GMThttps://www.unrealengine.com/blog/join-us-for-unreal-academy-enterprise-londonhttps://www.unrealengine.com/blog/join-us-for-unreal-academy-enterprise-londonVirtual Production with Unreal Engine: A New Era of FilmmakingBold, disrupting technologies are often harbingers of important future changes across creative industries. For studios in the film, broadcast, and VFX world, embracing virtual production could very well be the key to elevating the visual medium to new heights in the years and decades to come.<br /> <br /> That’s why we’re excited to announce a new series of exclusive podcasts, video interviews, and articles exploring how virtual production is ushering in a new era of filmmaking – through the eyes of top creative teams already using these powerful techniques in their production pipelines.<br /> <br /> The first video in the Visual Disruptors: Exploring the Future of Virtual Production series is available below right now. Don’t miss it!<br />   <div class="embed-responsive embed-responsive-16by9"><iframe allowfullscreen="true" class="embed-responsive-item" frameborder="0" src="https://www.youtube.com/embed/voVPO8w9-x4" width="100%"></iframe></div> <br /> <strong>Exploring the possibilities of virtual production</strong><br /> <br /> VFX is an evolving industry, and virtual production is shaping up to play a pivotal role in how studios will overcome the production challenges of tomorrow. Innovative studios are already combining CG, motion capture, and real-time rendering with more traditional production techniques throughout the production process to more efficiently bring the creative vision of their directors to life. <br />  <br /> <img alt="blog_body_img2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fvirtual-production-with-unreal-engine-a-new-era-of-filmmaking%2Fblog_body_img2-1640x960-90931703eece153a0e8837a8daecd6b8f2c4815b.jpg" width="100%" /><br /> <br /> “There’s no other way to make the type of content that we are approaching,” explains Glenn Derry, Vice President of Visual Effects at Fox Feature Films. “I can’t fly to Pandora and shoot Avatar, there’s no way to do that. You have to create some mechanism whereby the directors and the creatives involved can get out there and actually produce their film in a meaningful way.”<br /> <br /> For others, the possibility of forging new paths forward in the industry is an enticing prospect, particularly when it opens the doors to more effective ways to build a hyper-efficient pipeline.<br /> <br /> “To make movies using virtual production, and particularly with a game engine with all of the real-time capabilities, it’s an opportunity to redesign the whole process of filmmaking,” says Tim Webber, VFX Supervisor at Framestore. “Something that would take us overnight or a week to do, suddenly you can do immediately and you can get immediate feedback...and that opens up a world of possibilities to do things differently.”<br /> <br /> <img alt="blog_body_img3.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fvirtual-production-with-unreal-engine-a-new-era-of-filmmaking%2Fblog_body_img3-1640x960-5fad250d72d6a38cc27be5e7d4f58faf8816df5e.jpg" width="100%" /><br /> <br /> <strong>Learn more about virtual production</strong><br /> <br /> Curious to learn more about how virtual production is changing the way studios approach the craft of film, video, and broadcasting? You’ll also find a ton insightful content at our new Virtual Production hub (<a href="http://www.uevirtualproduction.com/" target="_blank">www.uevirtualproduction.com</a>).<br /> <br /> The new virtual production podcast series is a great place to start! Episode one, <strong>What is Virtual Production?</strong> is <a href="https://www.unrealengine.com/en-US/programs/virtual-production/what-is-virtual-production" target="_blank">available now</a>. It features guests Ben Grossman (Co-founder of Magnopus) and David Morin (Chairman of the Joint Technology Committee on Virtual Production) discussing the ins and outs of the techniques it encompasses.<br /> <br /> You can also catch up on the informative <a href="https://www.unrealengine.com/en-US/programs/virtual-production/industry-round-table-at-siggraph" target="_blank">virtual production roundtable discussion</a> from Siggraph 2018, featuring industry experts Al Lopez (President of Stargate Studios), Daniel Gregoire (Founder of Halon Entertainment), and Ryan Beagan (Virtual Production Supervisor at Fox VFX Lab).<br /> <br /> Join the conversation now! <a href="https://ue.unrealengine.com/Visual-Disruptors.html" target="_blank">Subscribe here</a>, and we’ll send you an email when we post something new in this exciting series.film and televisioneducationenterprisenewsBrian PohlWed, 24 Oct 2018 22:30:00 GMThttps://www.unrealengine.com/blog/virtual-production-with-unreal-engine-a-new-era-of-filmmakinghttps://www.unrealengine.com/blog/virtual-production-with-unreal-engine-a-new-era-of-filmmakingBYU Students Bring Rhythm and Fighting Together in ‘Beat Boxers’<strong>Team based game creation at BYU</strong><br /> <br /> At <a href="https://www.byu.edu/" target="_blank">Brigham Young University</a>, a team of about 20 students builds a video game each year. This past year’s game was <a href="https://store.steampowered.com/app/954070/Beat_Boxers/" target="_blank">Beat Boxers</a>, which was completed in the summer of 2018.  It <a href="https://news.byu.edu/news/byu-students-win-e3-game-competition" target="_blank">won first place</a> at E3’s highly prestigious College Game Competition.<br /> <br /> At the start of each summer, BYU invites students in the animation and computer science departments to pitch ideas and choose one as the next group capstone project for various art and computer science majors.<br /> <br /> <img alt="FEATURE_BeatBoxersInterview.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FFEATURE_BeatBoxersInterview-1920x960-0cfe552efe717d18acecb4b743f7f74f3c00a95a.jpg" width="100%" /> <div style="text-align: center;"><em>Target piece painted by student Vanessa Palmer</em></div> <br /> In 2017, Beat Boxers won the vote, a game where we wanted the core experience to give players an opportunity to steal the limelight in a performance battle royale. The project eventually boiled down to a fighting game where the player has a choice of three moves, each of which is more powerful when hitting on the beat of the music. The player has to also choose the right move each beat to trump the other player’s choice, like several rapid games of rock-paper-scissors.<br /> <br /> All positions on the project, including producer and director, were undergraduate students, and the person who originally pitched Beat Boxers became the programming lead.<br /> <br /> <strong>Executing in Unreal</strong><br /> <br /> Beat Boxers was not only made for the enjoyment of making a game, but also to further students’ education on game-making principles. One reason we used Unreal Engine is because it is a powerful, stable package that can achieve a professional look. BYU students apply to AAA studios all over the world, so the finished look was important to us. We also used Unreal Engine because it is valuable in teaching deeper principles. Node networks and deep capabilities let students experiment and solve difficult problems. UE4’s Materials system is based in node networks and procedural workflows which our students are used to working in, so it was a good fit for that reason as well.<br /> <br /> During the summer, the artists rapidly prototyped using UE4 Blueprints, iterating through several white-boxed character and stage designs, which helped us cement in our minds what experience we wanted players to have and design for that. <br /> <br /> <img alt="Whitebox2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FWhitebox2-1282x726-7bde587b61851518a426b8bb834b1c6436bc5e71.jpg" width="100%" /> <div style="text-align: center;"><em>Whiteboxed version of Beat Boxers in Unreal Engine</em></div> <br /> Beat Boxers is both a fighting game and a rhythm game, but because fighting games and rhythm games each have their own mechanics, we had to figure out the right gameplay that would mix elements of both. The Blueprints system allowed us to create dozens of prototypes varying the gameplay designs quickly and easily. The lead designer could quickly change and add to the gameplay in Blueprints before we added them in C++.<br />    <br /> <img alt="BeatBoxers_Screen1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FBeatBoxers_Screen1-1280x720-101c5ab76b284e6bcb0103ecca106c7ebf65ab26.jpg" width="100%" /> <div style="text-align: center;"><em>Final gameplay screenshot</em></div> <br /> <strong>Controls/gameplay</strong><br /> <br /> Striking a balance between fighting and rhythm games was difficult. In order to prevent ourselves from straying too far from either genre, we chose to focus on making a fighting game first and enhancing it with rhythmic elements.<br /> <br /> From playtests, we determined it was impossible to encourage players to attack on the beat unless the pace of the game was founded around the beat itself. This led to a design where your inputs are buffered and fire only on the beat, at the same time as your opponent&#39;s inputs. The rock/paper/scissors nature of our moveset allowed us to keep the control scheme simple for people new to fighting games, but also gave us room to use inputs in creative ways for fighting game enthusiasts.<br />   <br /> <img alt="BeatBoxersBlueptint.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FBeatBoxersBlueptint-1254x475-3b14bfc04db1067c04005f41ab450727a86ad121.jpg" width="100%" /> <div style="text-align: center;"><em>Blueprint of the logic to know if a player hit on or off beat</em></div>  <br /> Using the FMOD plugin, we fired an event on the beat consistently in sync with music. We used this event in conjunction with timers to open and close an "onbeat window." This was approximately a tenth of a second before and after the beat of the song. When the "onbeat window" is open (determined by which timers were active) the attack was onbeat, otherwise it was offbeat.<br /> <br /> <strong>Character Design</strong><br /> <br /> The first challenge was to personify genres of music into appealing characters that each had their own attitude. The classical violin character Maestra was developed first. She was based on a concept sketch that was part of the game’s initial pitch. It got everybody really excited about what the game could be. The design went through many different people and many iterations over several months until she became the tall, elegant, and deadly opponent we presented at E3 2018. Unreal Engine allowed us to pull our models in quickly to test out how they looked in context of the assets being made by the other members of the team. We pulled assets into Unreal to see them in context with each other as early as possible.<br /> <br /> <img alt="BeatBoxers_CharacterComparison_1.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FBeatBoxers_CharacterComparison_1-770x400-290dae86e471e355edd1f7f17dcdab456eb36198.jpg" width="100%" /> <div style="text-align: center;"><em>Comparison between concept art (left) and execution in Unreal (right).</em></div> <br /> We also wanted to create a second character that contrasted Maestra while belonging in the same world. We decided that a bulky, fun, rock character who loves the spotlight would contrast with the slim silhouette of Maestra and unify the game. He’s been lovingly named Riff. Our process of starting development of characters one after the other instead of all at once was valuable. It let us solve character problems with a single team, then hand lessons learned off to the next character team, so as not to repeat solving the same problems on multiple teams.<br /> <br /> Substance Painter was used to texture all of the assets in Beat Boxers. Maestra’s wood texture is completely procedural. Her eyebrows and gold accents are hand painted. The maps were exported from substance as basic texture maps, then additional effects like Fresnel were added via shader networks in Unreal Engine.<br /> <br /> <img alt="BeatBoxers_Character_Comparison_2.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FBeatBoxers_Character_Comparison_2-770x400-1e9986cb31fbada58f3881d683a8a976f7289e17.jpg" width="100%" /> <div style="text-align: center;"><em>Comparison between concept art and execution in Unreal Engine.</em></div> <br /> Both Riff and Maestra were designed to be quintessential examples of the genres they represent. They were modeled in Maya and Zbrush and textured in Substance painter. Maestra has 37,670 triangles and Riff has 29,747. Both are using only one UV channel.<br /> <br /> <strong>Animation</strong><br /> <br /> Regarding animation, we wanted to make sure the characters look like they were fighting and also performing. We studied many Street Fighter-style games for reference and found ways to make every characters’ moveset unique. We attended concerts and discovered essential differences between the dignified elegance of a symphony and the raw energy unleashed at a rock concert. All of this helped us build the movesets for Maestra and Riff.<br /> <br /> Introducing a rhythm component into a fighting game is challenging. Every aspect of the game had to emphasize the importance of tempo and beat. In order to accomplish this, we created two animation files for each attack. We played with the timing and exaggeration of poses so when players timed actions to the beat, they were rewarded with a more powerful and visually interesting moveset animation. When players ignored the beat, they got a weaker version of the move using the second animation (as well as reduced points). We gave the animations to our magical programmers and they strung the files together in node networks to create smooth transitions when a player strung combos together and awkward pauses in the animations when the player acted off the beat. With the finished version, one could feel as if they were being held accountable for performing well—and we were very excited about that.<br /> <br /> The movesets were arranged in a state machine with specific criteria such as player input determining the movement between states.<br />    <br /> <strong>Stadium Environment</strong><br /> <br /> Many of the assets in the game were designed to be flexible and reusable. We used Houdini to build intricate procedural assets and ported them into Unreal using the Houdini Engine. The Unreal Editor’s flexibility to use the Houdini Engine plugin allowed us to fluidly adjust components from various sources in the Unreal Editor.  This made it remarkably easy to art-direct even complicated pieces like the stadium seating and scaffolding.<br /> <br /> <strong>Lighting</strong><br /> <br /> Minimal lights were used in the game. Each character was lit in isolation through lighting channels. They could be lit up and fine-tuned individually so we didn’t wash out the other character or the environment.  We had to make sure the characters stood out from the background, so elements of the background glowed, but dimly, and we kept all the background lights low and with added fog.  We did iterations of lighting adjustments by working with the art lead who did paintovers for each iteration.<br /> <br /> This project has received a lot of high praise for its look, which was made possible by Unreal Engine’s quality artistic tools.  <br />  <br /> <strong>Crowds</strong><br /> <br /> The crowds are hardware instanced meshes with animations baked into the texture. Animations are accessed through vertex offset information in the shader.<br /> <br /> Normally the CPU has to send a draw call to the GPU for each mesh to be drawn. This can waste a lot of the GPU’s time as it can finish before the CPU is able to send the next call. Using hardware instancing, the GPU stores an array of transformation matrices. With a single draw call the GPU draws the model once for each transformation matrix.<br /> <br /> <img alt="BeatBoxers_Capture5.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FBeatBoxers_Capture5-765x455-de5efead381f8b2904947b91764832062198de1b.jpg" width="100%" /> <div style="text-align: center;"><em>Our hardware instanced crowd</em></div> <br /> The downside to hardware instancing is it doesn’t work on computers without a dedicated graphics card or with skeletal animations, so the crowd won’t move and will be very uniform.<br /> <br /> To get animation on a hardware instanced mesh, start with an animated skeletal mesh, process it and the animation, and the result is a static mesh with very specific data in the vertex color data, a texture representing the animation, and a complicated shader.<br />  <br /> <img alt="BeatBoxers_Capture7.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FBeatBoxers_Capture7-1128x575-ea17b3afd4375f9c6e67d6cecbb1153ade790369.jpg" width="100%" /> <div style="text-align: center;"><em>The node network that animates with a texture.</em></div>   <div style="text-align: center;"><img alt="BeatBoxers_Capture8.jpg" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FBeatBoxers_Capture8-611x474-eb9135485f0bcfa9894b52b08f46772a32d4fe1c.jpg" style="width: 50%; height: 50%;" /></div> <div style="text-align: center;"><em>If the color channel was used on the animated texture.</em></div> <br /> What this process does is calculate the difference in location of each vertex from the bind pose at each frame. You store those differences in a texture, one axis being time (or frame rather) and the other axis being vertex ID (a unique identifier you need to assign to each vertex). We encoded the value of the vertex ID across the RGBA channels of the vertex color data of the model. Then, write a shader that decodes the vertex ID from the vertex color data. With the shader, use the elapsed time to figure out what UVs to sample, and then sample the texture to figure out how far to displace each vertex, putting that value into the vertex offset. Make sure to disable sRGB and use nearest filtering. Also be sure to transform the vertex displacements into world space before applying them to vertex offsets. To combine multiple animations into one image, sample different animations like you would a sprite sheet.<br /> <br /> <img alt="BeatBoxers_Capture6.jpg" height="auto" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FBeatBoxers_Capture6-823x412-b4dcbfcdd51d5fe098c6ce0263a02ba3acf05a94.jpg" width="100%" /> <div style="text-align: center;"><em>Spritesheet timeline for the animated textures for crowd characters.</em> </div> <br /> You can vary the individuals within the crowd by using the single random value you can assign to every instance in Unreal&#39;s provided Instanced Static Mesh component. You also ought to transform the location deltas from local space to world space before applying them as vertex offsets (though this can have issues with scaling). You will also notice the normals are screwy. It is still using the normals from their static position. If that becomes a problem, it can be fixed by also calculating, and storing in a second image (or different portion of the same image), the change in normals over the course of the animation.<br /> <br /> <strong>Optimization</strong><br /> <br /> We used Unreal’s fine-tuning options and powerful tools to optimize the game and keep it looking good. We disabled collisions on everything but the characters, and the stage they were on. We also set the background assets to static lightning.<br /> <br /> Another thing that we fixed to keep the game’s performance up was to adjust the fog and particle effects that were in the crowd. Originally there were three types of fog effects on the map. Since the viewing angle doesn’t change much in the game, our student in charge of optimization reduced the fog to one and extended it within the camera view. While that may not look as good from other angles, it looks the same as our first iteration from the player’s viewpoint.<br /> <br /> We had three master Materials, with incrementing levels of complexity. The simplest one was used for the entire crowd and background. That Material only had a color channel. The second was used for the stage floor and set dressings. That material has color, roughness, normal, metallic, and AO. The last one was used only for the characters, and had all those previously mentioned, but also controls for tinting, Fresnel effects, and a few others. By doing this, we were able to keep all shader complexity levels in the green.<br />  <br /> <strong>Special Effects</strong><br /> <br /> Our effects were created using hand-painted animated sprite sheets. These are then read frame-by-frame by Unreal’s Cascade Particle System from left to right; playing as 2D animations in-game and timed to the player’s attacks and actions. Using this process allowed us to plan and design the shapes, pacing, and dissolve of the effects to the stylistic appearance we desired. Then, by layering the animations with sparks, light, and hit effects, we integrated them more smoothly into the 3D gameplay. The resulting effects are more stylized than 3D effects, similar to those achieved by games such as Dragon Ball Fighter Z and Guilty Gears Xrd. We varied which effect would play depending on whether the player hit on or off-beat. <br /> <br />   <br /> <img alt="OffBeat.gif" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FOffBeat-3674f6d321e065dd50855a2b4f0e912fa19995b3.gif" style="width: 50%; height: 50%; float: left;" /><img alt="OnBeat.gif" src="https://cdn2.unrealengine.com/Unreal+Engine%2Fblog%2Fbyu-students-bring-rhythm-and-fighting-together-in-beat-boxers%2FOnBeat-7a199b63b9ae14e65cd5af5a9470432ddf6f6b6d.gif" style="width: 50%; height: 50%;" /> <div style="text-align: center;"><em>The offbeat effect on the left, the on beat effect on the right.</em></div> <br /> <strong>Conclusions</strong><br /> <br /> Unreal Engine allowed us, as a team of students, to learn how to create professional looking content quickly and optimize it to perform well. Its interface was approachable for our artists to upload their own work and deep enough for our programmers to customize gameplay to achieve the experience we were after. Because of this, we were able to iterate quickly and polish, which was one of the key reasons we were prepared for E3’s College Game Competition. Everyone on the team was really excited to be selected for the opportunity to go to California’s E3 conference, rub shoulders with our peers, and see what AAA game studios are making. We were also honored that Beat Boxers won the 2018 college competition. The entire team of programmers, modelers, texture artists, concept designers, gameplay designers, and logistics all worked together to produce an experience we enjoy, and we hope you will enjoy too. <a href="https://store.steampowered.com/app/954070/Beat_Boxers/" target="_blank">The game is available on Steam for free</a>.<br />  <br /> <strong>Credits</strong><br /> <br /> Director - David Burnham <br /> Producer - Jessica Runyan<br /> Design Lead - Mike Towne<br /> Technical Lead - Adam Riley<br /> Animation Lead - Chris Fish<br /> Art Director - Vanessa Palmer<br /> Music - Alastair Scheuermann, Jarrett Davis<br /> Sound - Jared Richardson, Dallin Frank<br /> <br /> <br /> <strong>Created by</strong> (the following students took on various roles in the making of the game):<br /> <br /> Sydney Adams<br /> Dyanara Banana<br /> Paige Caldwell<br /> Andrea Davila<br /> Jessica Davila<br /> Derrick Drysdale<br /> Wyatt Earnshaw<br /> Jedi Lion<br /> Shannon Lyman<br /> Connor Mathewson<br /> Calvin McMurray<br /> Brenna Oldroyd<br /> Do Park<br /> Parin Phurisat<br /> Laura Porter<br /> Alexa Poulton<br /> Andrew Rios<br /> Patrick Spencer<br /> Jordan Stewart<br /> Nate Swinney<br /> Sarah Tippets<br /> Jenessa Welker<br /> Wei WongeducationgamescommunityBYU Student TeamWed, 24 Oct 2018 14:00:00 GMThttps://www.unrealengine.com/blog/byu-students-bring-rhythm-and-fighting-together-in-beat-boxershttps://www.unrealengine.com/blog/byu-students-bring-rhythm-and-fighting-together-in-beat-boxers