Unreal engine 4

Games require more visuals as virtual worlds become larger and gamers’ expectations soar. Unreal Engine™ (version 4, or UE4) technology was used to demonstrate the merging of visual scripting, textures and materials to create a solution that satisfies modern graphics creation. The product demonstrated in this paper is a modular planet system complete with Blueprint, which enables designers and artists to develop fully customisable worlds. The method shows the utilisation of linear interpolation, material parameters, panners, material parameters collection, and Blueprint to provide a real time in-game solution.

Anlatı, tüm sanatlarda olduğu gibi sinemada da ana unsurdur. Kendini ifade etme aracı olan sanat, sinemada da kendini göstermiştir. Sinema da ifade biçimi olarak görsel ve işitsel materyaller kullanılmaktadır. Görsel ve işitsel materyallerin gerçekçiliği anlatıyı daha etkili bir hale getirmektedir. Sinemanın doğuşundan günümüze kadarki sürecinde anlatıyı gerçekçi hale getirmek için birçok yöntem kullanılmıştır. Tekniği iyi bir şekilde kullanmak, anlatıyı iyi yönde etkileyen unsurlardan biridir. Özellikle son yıllarda teknolojinin gelişmesiyle birlikte teknik yöntemlerin ve teknik programların kullanımı anlatı ve hikayedeki gerçekliği çok başka boyutlara taşımaktadır. Bu çalışmada sinema için yeni bir yöntem olan dijital oyun motorlarından Unreal Engine ile sahne tasarlama tekniği üzerinde durulmuş ve Mandalorian dizisi incelenmiştir. Yöntemin sektör içindeki durumu hakkında bilgi verilmiştir.

The purpose of this thesis was to implement a prototyping process for early game user
interface (UI) development. The process evaluation and evaluation of the Unreal Engine 4
(UE4) was performed in a case study, implementing a role-playing game (RPG) UI for a
character inventory.
Extensive research, related to prototyping techniques, game development, immersion and
flow, was conducted; to sustain the case study project, game user interface design, heuristic
evaluation, usability and user experience, were additionally reviewed.
The prototyping process defined, combines techniques from usability evaluation, software
engineering and game development and has proven to deliver sufficient results. The current
state of the prototype, the result of the case study, is far from being final; but not all
requirements, identified in the study, were realized for the UI in the UE4 prototype, and
remain to be implemented in the future.
Guldbrandsen and Storstein compiled a evaluation framework for the predecessor of the
UE4, the Unreal Development Kit (UDK), it was applied in a qualitative discussion (Guld-
brandsen and Storstein, 2010). The UE4 is a feature heavy state-of-the-art game engine; a
large framework that offers flexible and fast iteration for game UI. It is developed contin-
uously, providing new and improved features. While updates are generally positive, they
also form additional requirements and risks for a product, the downside of “bleeding edge”
development.
The author has used the UE4 for over a year, and is experienced with the framework and its
general functionalities. Thus, the thesis grants more an expert point of view; the excellent
support, documentation and community of the UE4 may compensate lack in experience for
novice users.

Il villaggio di Bedriacum fiorisce nel periodo nel periodo augusto-tiberiano tra il I sec. a.C. e il I sec. d.C. La sua ricchezza si rispecchia nelle ricche residenze individuate, che presentano mosaici con coltissimi riferimenti letterari, ma anche marmi provenienti da tutte le parti dell’impero romano.
Le prime ricerche archeologiche sistematiche nel sito si devono alla Soprintendenza della Lombardia dagli anni ’50 del secolo scorso ad opera di Mirabella Roberti intorno e all’interno di quell’area che verrà acquistata dalla Provincia di Cremona a seguito delle scoperte effettuate, e dal 1986 ad opera del team dell’Università degli Studi di Milano.
Le numerose campagne di scavo hanno prodotto moltissimo materiale documentario, digitalizzato e organizzato in database relazionali. Ogni scavo archeologico distrugge reperti e asporta terreno per avanzare nelle ere storiche, ove possibile fino allo strato sterile su cui si impostano tutte le fasi di vita riscontrate. Per questo motivo, negli anni, si sono affinate sempre più le tecniche di acquisizione dati, per descrivere in maniera sempre più accurata il manufatto asportato, non più fisicamente presente nel terreno. Attualmente non ci sono regole standard che uniformano la metodologia di documentazione di uno scavo archeologico, ma solo delle convenzioni comuni.
Per ogni ritrovamento solitamente viene prodotta una documentazione composta da: schede testuali, foto e disegni tecnici. In aggiunta a queste convenzioni documentarie sta prendendo sempre più piede la fotogrammetria tridimensionale compiuta con tecniche semi automatiche oppure SFM.
iGIS è il primo sistema GIS 3D immersivo, scalabile e completamente personalizzabile che integra varie tecnologie 2D e 3D, spaziando dai database online MySQL alla Realtà Virtuale. iGIS nasce in ambito archeologico, ma ben si adatta anche ad altre realtà, come quelle museali.

This paper considers the development of a production of Aeschylus’ Agamemnon, devised as part of the Mask and Avatar project, realised first in Paris (December 2017) and, in revised form, in Warwick (March 2018). Myself and Andy Lavender (Warwick) along with Georges Gagneré and Cédric Plessiet (both Paris 8) grappled with a number of issues, both artistic and technological, in bringing the work to the stage and the intention here is to reflect on the tools, workflow, and production methods both assumed and adopted. With reference to current exemplars of the integration of live performer and pre-assembled digital assets (such as Ninja Theory's Hellblade: Senua's Sacrifice) and the emergence of real-time interaction with film (The Mill's The Human Race), both facilitated by the freely available Unreal Engine 4, the paper will evaluate the competencies and costs required to exploit the game engine on the experimental stage. Alongside this, the status, disposition and persistence of the live performer as a most distinctive controller driving the co-present avatar in the theatre space is considered, in part as a reflection on the ensuing stage picture but also as a prelude to contemplating the performer as means for show control, beyond the one-to-one correspondence of actor/avatar, articulating notions of 'manipulactor' and 'mocaptor' that might differently populate, indeed define, the performance space.

This paper presents a method for Real Time Muscle Texture Morphing utilizing the Unreal Developer Kit (UDK). The method applies wrinkle map technology to a torso; whereby multiple textures for tense and relaxed body poses are imported into the Unreal engine. The textures are blended using a skeletal control syste
m, which animates UDK‟s Scalar Material Options.
The results show the system functions in real time (55.57 FPS) but has a 1.46 seconds / 2.62% decrease in FPS and a memory increase of 3.6MB / 5.91%.