Videopelit ja pukutaide - analogisten pukusuunnittelumetodien digitalisointi

This thesis explores ways of integrating a costume professional to the character art team in the game industry. The research suggests, that integrating costume knowledge into the character design pipeline increases the storytelling value of the characters and provides tools for the narrative. The exploration of integrating a costume professional into game character creation as a process is still rare and little information of costume in games and experiences in transferring an analogue character building skillset into a digital one can be found, therefore this research was generated to provide knowledge on the subject. The research's main emphasis is on immersion-driven AAA-games that employ 3D-graphics and human characters and are either photorealistic or represent stylized realism. Technology for depicting reality is advancing and digital industries have become aware of the extensive skills required to depict increasingly realistic worlds. Also, tools for character art are beginning to lean on actual costume construction: the pattern based cloth simulation software entitled Marvelous Designer has become the industry standard for character clothing. The material of this thesis is based on the author's experience as an intern and Costume Artist at the game company Remedy Entertainment and on data collection in the form of participant observation, conversational interviews, archival searches and assorted documents as an internal employee of the company. Therefore, an ethnographical research that applies to qualitative, descriptive, nonmathematical and naturalistic research methods is utilized in this thesis. The result of this research is a costume production pipeline for integrating a costume professional into the game character design process. It is formed by comparing costuming processes of game and film industries to explore the similarities and differences in methods to analyze the most effective combination of these two. The final pipeline introduces the costume professional’s position during the different stages of the character design process. Furthermore, the thesis categorizes aspects essential for a costume designer to internalize in order to become a functional part of the Character Art team and the skills and knowledge required to support the character design in a production. This research identifies the need for costume knowledge in realistic AAA-games. When employing a costume professional into a game production, this thesis offers tools and vocabulary for collaboration. Costume designers are Character Artists, but with different tools and skill set and costume design can be seen as a live form of character art.Tämä opinnäytetyö käsittelee pukusuunnittelua peliteollisuudessa ja pukusuunnittelijan tarvetta hahmosuunnitteluprosessissa. Tutkimuksen materiaali perustuu kirjoittajan omaan kokemukseen harjoittelijana ja pukusuunnittelijana (Costume Artist) Remedy Entertainment -peliyhtiön hahmosuunnittelutiimissä. Työ esittelee eri peliyhtiöiden hahmotiimien käyttämiä pukusuunnittelumetodeja ja arvioi, miten pukusuunnittelun tiedostaminen erillisenä osana hahmosuunnitteluprosessia ja puvun kerronnallisten elementtien tunnistaminen ja hyödyntäminen tukee uskottavan pelihahmon luomista realistisissa peleissä. Tutkimuksen lähtökohtana on ajatus, että pukusuunnittelun integroiminen hahmosuunnitteluprosessiin syventää hahmoa ja kuluttajan pelikokemusta ja näin ollen nostaa pelin arvoa tuotteena. Tutkimuksen tuloksena syntyi uusi pukusuunnittelun tuotantolinja (Costume production pipeline) peliteollisuuden käyttöön. Se esittelee pukusuunnittelijan asemoitumisen pelituotannon hahmosuunnitteluprosessiin. Teknologinen kehitys mahdollistaa yhä realistisempien digitaalisten todellisuuksien luomisen, jonka seurauksena peliteollisuus työllistää enenevässä määrin myös perinteisten alojen erityisosaajia, kuten arkkitehtejä sekä elokuva-alan valosuunnittelijoita. Myös digitaalisen hahmonluonnin työvälineet nojaavat jo tosielämän vaatetuotantoon: vaatesimulaatio-ohjelma Marvelous Designer perustuu vaatteiden kaavoihin ja on laajalti käytössä pelihahmojen suunnittelussa. Pelit, joita tutkimus tarkastelee, ovat AAA-pelejä, jotka hyödyntävät 3D-grafiikkaa ja ihmishahmoja ja jotka ovat joko photorealistisia tai edustavat tyyliteltyä realismia. Tutkimuksen materiaali on koostettu keskustelullisista, strukturoimattomista haastatteluista, kirjoittajan työpäiväkirjasta, yhtiön edellisten pelien arkistomateriaaleista, sekä yhtiön sisäisistä ohjeistuksista. Tutkimus esittelee keinoja, joilla fyysisen ihmisvartalon kanssa työskentelemään kouluttautunut pukusuunnittelija voi integroitua digitaaliseen hahmonluontiprosessiin ja osoittaa, että pukusuunnittelijat ovat analogisilla metodeilla työskenteleviä hahmosuunnittelijoita. Hahmosuunnittelun etu suhteessa esitystaiteen pukusuunnitteluun on vapaus näyttelijän fyysisen ruumiin sekä fysiikan lakien tuottamista rajoitteista. Vaatesuunnittelu keskittyy vaatteeseen ja pukusuunnittelu fyysisen ihmisruumiin ja vaatteen synnyttämään kombinaatioon ja interaktioon, mutta hahmosuunnittelu tarjoaa pukusuunnittelullisesti rajoittamattoman vapauden hahmotulkintaan

Oil Painting 3D Scene: A Desert Survival Game Environment

Oil Painting 3D Scene: A Desert Survival Game Environment is a hand-painted, stylized game level. The whole environment includes desert, animals, plants, rocks, small particle effects and a shack built in Unreal Engine. This report outlines the whole production process, from the very beginning of visual development stage till completion, and illustrates my ideas, sketches, obstacles, tests, design choices, failures and successes, as well as technical specifics

A historical outline of school architecture in Malta

Although the history of education in Malta is well documented, the architectural history of local educational facilities is still as yet uncharted territory. The available literature on the architecture of schools in The Maltese islands and their underlying design philosophy is almost non-existent. A tentative outline can only be sketched on the basis of the substantial corpus of surviving drawings, various ad hoc reports ar.d for the international style modern schools, built in the 1950's and 60's, by direct verbal communications with their architects. This paper will present a concise historical exposition on school architecture in Malta and Gozo.peer-reviewe

Applicability of climate-based daylight modelling

Applicability of climate-based daylight modellin

Towards a filmic look and feel in real time computer graphics

Film footage has a distinct look and feel that audience can instantly recognize, making its replication desirable for computer generated graphics. This thesis presents methods capable of replicating significant portions of the film look and feel while being able to fit within the constraints imposed by real-time computer generated graphics on consumer hardware

Deep Sea Robotic Imaging Simulator

Nowadays underwater vision systems are being widely applied in ocean research. However, the largest portion of the ocean - the deep sea - still remains mostly unexplored. Only relatively few image sets have been taken from the deep sea due to the physical limitations caused by technical challenges and enormous costs. Deep sea images are very different from the images taken in shallow waters and this area did not get much attention from the community. The shortage of deep sea images and the corresponding ground truth data for evaluation and training is becoming a bottleneck for the development of underwater computer vision methods. Thus, this paper presents a physical model-based image simulation solution, which uses an in-air texture and depth information as inputs, to generate underwater image sequences taken by robots in deep ocean scenarios. Different from shallow water conditions, artificial illumination plays a vital role in deep sea image formation as it strongly affects the scene appearance. Our radiometric image formation model considers both attenuation and scattering effects with co-moving spotlights in the dark. By detailed analysis and evaluation of the underwater image formation model, we propose a 3D lookup table structure in combination with a novel rendering strategy to improve simulation performance. This enables us to integrate an interactive deep sea robotic vision simulation in the Unmanned Underwater Vehicles simulator. To inspire further deep sea vision research by the community, we release the source code of our deep sea image converter to the public (https://www.geomar.de/en/omv-research/robotic-imaging-simulator)

Electronic structure of the parent compound of superconducting infinite-layer nickelates.

The search continues for nickel oxide-based materials with electronic properties similar to cuprate high-temperature superconductors1-10. The recent discovery of superconductivity in the doped infinite-layer nickelate NdNiO2 (refs. 11,12) has strengthened these efforts. Here, we use X-ray spectroscopy and density functional theory to show that the electronic structure of LaNiO2 and NdNiO2, while similar to the cuprates, includes significant distinctions. Unlike cuprates, the rare-earth spacer layer in the infinite-layer nickelate supports a weakly interacting three-dimensional 5d metallic state, which hybridizes with a quasi-two-dimensional, strongly correlated state with [Formula: see text] symmetry in the NiO2 layers. Thus, the infinite-layer nickelate can be regarded as a sibling of the rare-earth intermetallics13-15, which are well known for heavy fermion behaviour, where the NiO2 correlated layers play an analogous role to the 4f states in rare-earth heavy fermion compounds. This Kondo- or Anderson-lattice-like 'oxide-intermetallic' replaces the Mott insulator as the reference state from which superconductivity emerges upon doping