Unreal engine 4

R.A.W-The Game is an open world action adventure game based in a steampunk setting. Its gameplay combines traditional RPG elements with FPS elements, such as cover-based shooting and crafting systems, while including stealth action sequences and exploration of a large over-world. It utilizes Unreal Engine 5 as its primary engine. Unreal Engine is a suite of Python libraries, comprising of C++ class library and UE4 plugin library, for 2D and 3D graphics programming. It includes real-time visuals like dynamic lighting, bump mapping, shadow mapping etc., as well as a deep physics simulation to boot. It uses OpenGL in its renderer backend which allows you to make use of Unreal's simulation features. Blender is a free and open-source 3D computer graphics software tool set used for creating 3D models, game elements, interactive 3D applications, virtual reality, and, game environment, video games. Blender offers a wide range of capabilities for 3D modeling, including UV mapping, texturing, digital sketching, raster graphics editing, rigging, skinning, fluid and smoke simulation, particle simulation, match movement, animation, sculpting, soft body simulation, compositing, rendering, motion graphics and video editing. This game utilizes advanced animation and graphics technology. Lumen is the global illumination and reflections system in Unreal Engine 5, a completely dynamic global illumination and reflections system created for next generation consoles. In huge, intricate settings, Lumen displays diffuse interreflection with infinite bounces and indirect specular reflections at scales ranging from kilometers to millimeters. All programming code is written in C++ code, where Lumen is used as rendering systems that achieve fast real-time graphics rendering.

Serious games are defined as applied games that focus on the gamification of an experience (e.g., learning and training activities) and are not strictly for entertainment purposes. In recent years, serious games have become increasingly popular due to their ability to simultaneously educate and entertain users. In this review, we provide a comprehensive overview of the different types of digital games and expand on the serious games genre while focusing on its various applications. Furthermore, we present the most widely used game engines used in the game development industry and extend the Unity game machine advantages. Lastly, we conclude our research with a detailed comparison of the two most popular choices (Unreal and Unity engines) and their respective advantages and disadvantages while providing future suggestions for serious digital game development.

This presentation will hack through the undergrowth of experiments infested by mutations of immersion, video and performance. The path, such as it is, claims as its point of embarkation a 2017 performance at Tate Exchange, Who You Think We Are. Months later, the first iteration of Agamemnon surfaces in Paris, then Warwick and is finally settled, appropriately enough, in Athens (2018). An older, though no wiser traveler wrestles with the incontrovertible incompatibility of shared VR headsets and global pandemics and divagates into a playable encounter with Shakespeare's Sonnets (2020, Windows. As of February 2021, the vicissitudes of viral containment prompt an ongoing engagement with Beckett's study in fixity, his ménage à trois dans les urnes, Play. Centered around the multifarious opportunities presented by the freely available Unreal Engine (https://www.unrealengine.com/), the presentation will offer up various combinations of the live and the recorded, the virtual and the real and the viability of integrating such work into the theatre curriculum.

Terrain image maps are widely used in 3D Virtual Environments, including games, online social worlds, and Virtual Reality systems, for controlling elevation of ground-bound travelers and other moving objects. By making use of all available color channels in the terrain image, it is possible to encode important information related to travel, such as presence of obstacles, directly into the image. This information can be retrieved in real time, for collision detection and avoidance, at flat cost of accessing pixel values from the image memory. We take this idea of overloading terrain maps even further and introduce time maps, where pixels can also define the rate of time, for each player at given location. In this concept work, we present a general mechanism of encoding the rate of time into a terrain image and discuss a number of applications that may benefit from making time rate location specific. Also, we offer some insights how such space-time maps can be integrated into existing...

Modern motion capture tools can be used to animate sophisticated digital characters in real time. Through these virtual avatars human performers can communicate with live audience, creating a promising new area of application for public engagement. This study describes a social experiment where a real-time multimedia setup was used to facilitate an interaction between a digital character and visitors at a public venue. The technical implementation featured some innovative elements, such as using iPhone TrueDepth Camera as part of the performance capture pipeline. The study examined public reactions during the experiment in order to explore the empathic potential of virtual avatars and assess their ability to engage live audience.

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.

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.

How does one interpret remains of the past without projecting one’s cultural baggage in the process? This is a daily concern both for historians and archaeologists. In the present study, we investigate the possibility that a careful analysis of visual attention can provide invaluable hints leading us toward a better understanding of symbolic space. Through the examination of low level visual inputs we are able to explore the spatial composition of an archaeological landscape as it was originally intended to be seen and perceived. This provides a possibility for identifying socially meaningful features in a realistic virtual environment.

Keywords—Visual attention; virtual reality; archaeology; sanctuary; human behavior

PS: I would gladly speak about this undergoing project with anyone interested