O programa final está apenas disponível em formato pdf.
Rui Grilo (Portugal)
Nos dias de hoje, falar de mudança é um lugar comum. Mas quando se torna evidente que as regras do jogo estão a mudar, é preciso perceber de que forma uma economia e as empresas que a integram podem responder a essa mudança. Em Portugal, o Plano Tecnológico simboliza desde 2005 a visão que está na base da resposta que o Governo, os cidadãos e as empresas dão a este momento de transformação. Apostar no conhecimento, na tecnologia e na inovação é fundamental para promover a nossa competitividade e isso deve ser particularmente evidente para os participantes nesta conferência Digital Games 2008.
From Outsourcing to Co-Production: Development and Business Pipeline (r)Evolution
many years now, outsourcing has been an accepted as part of the video
game development model. As the market matures, the game budgets
progressively get larger and consumers demand more, developers realize
the importance of finding new models that will allow them to decrease
cost, improve quality and mitigate risks. ‘Co-Production’ is a new
model that leverages the strengths of distributed development, where
multiple parties work on one IP equally sharing in the investment and
the risk. Since its inception as an outsourcing company, Streamline
Studios has continuously stayed on the forefront of the game
development innovation wave. The studio has evolved into a
co-production company and pushes further towards the matured
Stefan Baier, a founding member of
Streamline Studios, serves as the company’s Pipeline Architect. Whether
working on internal titles such as HoopWorld or content creation projects such
as Gears of War, Unreal Tournament, or Saints Row, Stefan is responsible for
designing, architecting, and managing all content pipelines at Streamline.
New Trends on Character Animation
The face plays an important role in verbal and non-verbal communication. Everyday, we see many faces and interact with them in a variety of ways: talking, listening, looking, making expressions. Currently, virtual characters are used in a myriad of different situations: medicine, broadcasting, films, videogames, criminology, virtual worlds and others. Thus, facial animation is the key element to convey emotion to 3D characters. Reproducing the subtleties of a face through animation requires developing a sophisticated character rig. But, creating by hand the inner structure and controls of each
character is a very labor-intensive and time-consuming task.
This talk will be divided in two sections. First, I will describe the new trends on character animation techniques used in videogame and films, such as motion capture and skeletal animation. I will also explain the complexity involved in the rigging process and the reasons why facial animation remains a challenge. I will end the first section by presenting a portable character rigging system that integrates into current animation pipelines. In the second part of the talk, I will give an overview of the entertainment industry and describe different ways to get started in the videogame and film industry.
Verónica Costa Orvalho has a Ph.D. in Software Development (Computer Graphics) from Universitat Politècnica de Catalunya (2007), where her research centered on "Facial Animation for CG Films and Videogames". She has been working in IT companies for the past 11 years, such as IBM and Ericsson, and Film companies, like Patagonik Film Argentina.
She has given many workshops and has international publications related to game design and facial animation. She has received international awards for several projects: "Photorealistic facial animation and recognition", "Face Puppet" and "Face In Motion". Now, she is a full time professor of Porto University and co-founder and CTO of Face In Motion (www.faceinmotion.com). She is also a former research member at the Event Computational Lab (http://moving-event.org/) working on virtual reality and character animation. Current and past collaborations include several film and game companies (Blur Studios, Electronic Arts, Microsoft Portugal, Dygrafilms), and research groups (Stanford University, Universitat Politècnica de Catalunya). Now, her research focus on developing new methods related to motion capture, geometric modeling and deformation, and real time animation.
Electronic/digital games are
on the rise in the Brazilian academic scenario, leading to research on
different areas of knowledge such as: pedagogy, psychology,
communication, computer science and design. Especially with regard to
these two last fields, which have grown significatively in the game
development segment for cell phones and “advergames”. Businessmen and
local fomenting agencies through the Education, Culture, Science and
Technology Ministries have started building a unique meaning for those
Medias, which have been playing the role of cultural devices that go
beyond entertainment into learning environments.
In such a
scenario, an issue arises: investment on professionals that could
handle this game development demand in order to explore effectively and
accordingly a competitive market. In this sense, one of the ways to be
treaded is to establish partnership in between universities and private
companies through informatics Law, involving public, private and
international institutions, generating a cooperatively production
logic, adding up altogether intelligence and knowledge expressions.