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Found 451 results

  1. Hey everyone! My name is Ryan and I am the founder of Visualistic Studios, LLC. I'm looking for experienced developers interested in short term and long term contracting. For the past 3 years I've been working in game development contracting, and the past year I've been working full time from home. Since then, I've received more and more contracts and I'm now at the point that I have too many for myself to handle. I have at least another full time job's worth of programming offers, and around 30-80 hours a month for 3D modeling/animation. I also am in need of a UI artist, so if you're talented please contact me! I have contracts using Unity as well as Unreal Engine 4, so if you can program in either please contact me. If you are interested in working on these contracts, please send me links to your work and you hourly rate. (Most contracts range be between 18-25$/h, but please provide your normal hourly rate) You can get ahold of me through email - "ryan.hobbs@visualisticstudios.com", or Discord "TSpartanT#4670" Thank you everyone for reading, hope to hear from you soon!
  2. Hi Guys We are looking for a n assistant producer to assist myself with day to day running of our project. It is a 3D first/third person battle simulator. Its set in the Viking age in Norway and we want to create a brutal but fun game with focus game mechanics. We would like to have a stamina system that is linked to a weapon and armour weight system. This system will require management from the player if they hope to survive. This project is intended to be commerical so if all goes well, you will recieve a share. If interested you will be sent a copy of the GDD. You will be assisting myself with oragnising the project which will include giving tasks to devs, attending meetings, helping devs with questions, social media and promotion, enquires, acting as a reprenstative of the team, overseeing the development of the project, assisting with contracts, contributing to the games design, resolving disputes among other producer realted tasks. We have a team of other devs that will be working on this, 3d artists, a composer, a programmer and concept. If you are reading this but not intersted in this role but want to be involved please message me as we are still looking for other devs and artists.
  3. Mikael Henriksson

    Unreal Fifth Entry - November 10, 2018

    Hello all! This is the fifth entry of my development blog for my project 'Tracked Mind'. Since last post I've been taking care of the system that controls how the Player character moves and how stamina effects movement, and of course some bugs that appeared while I implemented it . The new version of the movement system will be able to keep a better track of the Player's stamina and different movement speed depending on the Player's stance etc. I am also creating the first draft of a couple of new maps. I'm uploading a few new screenshots of the game, one of them shows one of the new maps, let me know what you think! Some changes this month: - The movement system has been updated. - New maps (first draft of them). Bug fixes - Fixed a bug that would prevent reloading of the shotgun. - Fixed a bug that caused the Player to be able to sprint even when stamina was at 0. Thank you once again for reading! /Mikael Henriksson
  4. Mikael Henriksson

    ScreenShot00047.png

    From the album: Tracked Mind

  5. Mikael Henriksson

    ScreenShot00039.png

    From the album: Tracked Mind

  6. Mikael Henriksson

    ScreenShot00028.png

    From the album: Tracked Mind

  7. khawk

    Unreal Unreal Engine 4.21 Released

    Epic Games today released Unreal Engine 4.21 to bring developers greater efficiency, performance, and stability for any project on any platform. With this latest release, it's easier for users to work smarter, create faster, and produce world-class results with Unreal Engine. Unreal Engine 4.21 builds upon proven tools for creativity and efficiency, adding even more mobile optimizations to both Android and iOS, up to 60% speed increases when cooking content, and more power and flexibility in the industry-leading Niagara effects toolset for real-time VFX. In addition, the new production-ready Replication Graph plugin enables developers to build multiplayer experiences at a scale previously impossible, and Pixel Streaming allows users to stream interactive content directly to remote devices with no compromises on rendering quality. Updates in Unreal Studio 4.21 also offer new capabilities and enhanced productivity for users in the enterprise space, including architecture, manufacturing, product design, and other areas of professional visualization. Unreal Studio's Datasmith workflow toolkit now includes support for Autodesk Revit, and enhanced material translation for Autodesk 3ds Max, all enabling more efficient design review and iteration. Key features across Unreal Engine 4.21 include: Replication Graph: The Replication Graph plugin, which is now production-ready, makes it possible to customize network replication in order to build large-scale multiplayer games that would not be viable with traditional replication strategies. Niagara Enhancements: The Niagara VFX feature set continues to grow, with substantial quality of life improvements and Nintendo Switch support added in Unreal Engine 4.21. Sequencer Improvements: New capabilities within Sequencer allow users to record incoming video feeds to disk as OpenEXR frames and create a track in Sequencer, with the ability to edit and scrub the track as usual. This enables users to synchronize video with CG assets and play them back together from the timeline. Pixel Streaming (Early Access): With the new Pixel Streaming feature, users can author interactive experiences such as product configurations or training applications, host them on a cloud-based GPU or local server, and stream them to remove devices via web browser without the need for additional software or porting. Mobile Optimizations: The mobile development process gets even better thanks to all of the mobile optimizations that were developed for Fortnite's initial release on Android, in addition to all of the iOS improvements from Epic's ongoing updates. 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. Much Faster Cook Times: With the release of 4.21, the cooking process has been optimized, resulting in up to a 60% speed increase in cook times. Low-level code avoids performing unnecessary file system operations, and cooker timers have been streamlined. Gauntlet Automation Framework (Early access): The new Gauntlet automation framework enables developers to automate the process of deploying builds to devices, running one or more clients and or/servers, and processing the results. Gauntlet scripts can automatically profile points of interest, validate gameplay logic, check return values from backend APIs, and more! Gauntlet has been battle tested for months in the process of optimizing Fortnite, and is a key part of ensuring it runs smoothly on all platforms. Animation System Optimizations and Improvements: Unreal Engine’s animation system continues to build on best-in-class features thanks to new workflow improvements, better surfacing of information, new tools, and more. Blackmagic Video Card Support: Unreal Engine 4.21 also adds support for Blackmagic video I/O cards for those working in film and broadcast. Creatives in the space can now choose between Blackmagic and AJA Video Systems, the two most popular options for professional video I/O. Improved Media I/O: Unreal Engine 4.21 now supports 10-bit video I/O, audio I/O, 4K, and Ultra HD output over SDI, as well as legacy interlaced and PsF HD formats, enabling greater color accuracy and integration of some legacy formats still in use by large broadcasters. Windows Mixed Reality: Unreal Engine 4.21 natively supports the Windows Mixed Reality (WMR) platform and headsets, such as the HP Mixed Reality headset and the Samsung HMD Odyssey headset. Magic Leap Improvements: Unreal Engine 4.21 supports all the features needed to develop complete applications on Magic Leap's Lumin-based devices -- rendering, controller support, gesture recognition, audio input/output, media, and more. Oculus Avatars: 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. Datasmith for Revit (Unreal Studio): Unreal Studio's Datasmith workflow toolkit for streamlining the transfer of CAD data into Unreal Engine now includes support for Autodesk Revit. Supported elements include materials, metadata, hierarchy, geometric instancing, lights, and cameras. Multi-User Viewer Project Template (Unreal Studio): A new project template for Unreal Studio 4.21 enables multiple users to connect in a real-time environment via desktop or VR, facilitating interactive, collaborative design reviews across any work site. Accelerated Automation with Jacketing and Defeaturing (Unreal Studio): Jacketing automatically identifies meshes and polygons that have a high probability of being hidden from view and lets users hide, remove, or move them to another layer; this command is also available through Python so that Unreal Studio users can integrate this step into automated preparation workflows. Defeaturing automatically removes unnecessary detail (e.g. blind holes, protrusions) from mechanical models to reduce polygon count and boost performance. Enhanced 3ds Max Material Translation (Unreal Studio): There is now support for most commonly used 3ds Max maps, improving visual fidelity and reducing rework. Those in the free Unreal Studio beta can now translate 3ds Max material graphs to Unreal graphs when exporting, making materials easier to understand and work with. Users can also leverage improvements in BRDF matching from V-Ray materials, especially metal and glass. DWG and Alias Wire Import (Unreal Studio): Datasmith now supports DWG and Alias Wire file types, enabling designers to import more 3D data directly from Autodesk AutoCAD and Autodesk Alias. For a full feature list and additional details, please visit: https://www.unrealengine.com/en-US/blog/unreal-engine-4-21-released View full story
  8. khawk

    Unreal Unreal Engine 4.21 Released

    Epic Games today released Unreal Engine 4.21 to bring developers greater efficiency, performance, and stability for any project on any platform. With this latest release, it's easier for users to work smarter, create faster, and produce world-class results with Unreal Engine. Unreal Engine 4.21 builds upon proven tools for creativity and efficiency, adding even more mobile optimizations to both Android and iOS, up to 60% speed increases when cooking content, and more power and flexibility in the industry-leading Niagara effects toolset for real-time VFX. In addition, the new production-ready Replication Graph plugin enables developers to build multiplayer experiences at a scale previously impossible, and Pixel Streaming allows users to stream interactive content directly to remote devices with no compromises on rendering quality. Updates in Unreal Studio 4.21 also offer new capabilities and enhanced productivity for users in the enterprise space, including architecture, manufacturing, product design, and other areas of professional visualization. Unreal Studio's Datasmith workflow toolkit now includes support for Autodesk Revit, and enhanced material translation for Autodesk 3ds Max, all enabling more efficient design review and iteration. Key features across Unreal Engine 4.21 include: Replication Graph: The Replication Graph plugin, which is now production-ready, makes it possible to customize network replication in order to build large-scale multiplayer games that would not be viable with traditional replication strategies. Niagara Enhancements: The Niagara VFX feature set continues to grow, with substantial quality of life improvements and Nintendo Switch support added in Unreal Engine 4.21. Sequencer Improvements: New capabilities within Sequencer allow users to record incoming video feeds to disk as OpenEXR frames and create a track in Sequencer, with the ability to edit and scrub the track as usual. This enables users to synchronize video with CG assets and play them back together from the timeline. Pixel Streaming (Early Access): With the new Pixel Streaming feature, users can author interactive experiences such as product configurations or training applications, host them on a cloud-based GPU or local server, and stream them to remove devices via web browser without the need for additional software or porting. Mobile Optimizations: The mobile development process gets even better thanks to all of the mobile optimizations that were developed for Fortnite's initial release on Android, in addition to all of the iOS improvements from Epic's ongoing updates. 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. Much Faster Cook Times: With the release of 4.21, the cooking process has been optimized, resulting in up to a 60% speed increase in cook times. Low-level code avoids performing unnecessary file system operations, and cooker timers have been streamlined. Gauntlet Automation Framework (Early access): The new Gauntlet automation framework enables developers to automate the process of deploying builds to devices, running one or more clients and or/servers, and processing the results. Gauntlet scripts can automatically profile points of interest, validate gameplay logic, check return values from backend APIs, and more! Gauntlet has been battle tested for months in the process of optimizing Fortnite, and is a key part of ensuring it runs smoothly on all platforms. Animation System Optimizations and Improvements: Unreal Engine’s animation system continues to build on best-in-class features thanks to new workflow improvements, better surfacing of information, new tools, and more. Blackmagic Video Card Support: Unreal Engine 4.21 also adds support for Blackmagic video I/O cards for those working in film and broadcast. Creatives in the space can now choose between Blackmagic and AJA Video Systems, the two most popular options for professional video I/O. Improved Media I/O: Unreal Engine 4.21 now supports 10-bit video I/O, audio I/O, 4K, and Ultra HD output over SDI, as well as legacy interlaced and PsF HD formats, enabling greater color accuracy and integration of some legacy formats still in use by large broadcasters. Windows Mixed Reality: Unreal Engine 4.21 natively supports the Windows Mixed Reality (WMR) platform and headsets, such as the HP Mixed Reality headset and the Samsung HMD Odyssey headset. Magic Leap Improvements: Unreal Engine 4.21 supports all the features needed to develop complete applications on Magic Leap's Lumin-based devices -- rendering, controller support, gesture recognition, audio input/output, media, and more. Oculus Avatars: 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. Datasmith for Revit (Unreal Studio): Unreal Studio's Datasmith workflow toolkit for streamlining the transfer of CAD data into Unreal Engine now includes support for Autodesk Revit. Supported elements include materials, metadata, hierarchy, geometric instancing, lights, and cameras. Multi-User Viewer Project Template (Unreal Studio): A new project template for Unreal Studio 4.21 enables multiple users to connect in a real-time environment via desktop or VR, facilitating interactive, collaborative design reviews across any work site. Accelerated Automation with Jacketing and Defeaturing (Unreal Studio): Jacketing automatically identifies meshes and polygons that have a high probability of being hidden from view and lets users hide, remove, or move them to another layer; this command is also available through Python so that Unreal Studio users can integrate this step into automated preparation workflows. Defeaturing automatically removes unnecessary detail (e.g. blind holes, protrusions) from mechanical models to reduce polygon count and boost performance. Enhanced 3ds Max Material Translation (Unreal Studio): There is now support for most commonly used 3ds Max maps, improving visual fidelity and reducing rework. Those in the free Unreal Studio beta can now translate 3ds Max material graphs to Unreal graphs when exporting, making materials easier to understand and work with. Users can also leverage improvements in BRDF matching from V-Ray materials, especially metal and glass. DWG and Alias Wire Import (Unreal Studio): Datasmith now supports DWG and Alias Wire file types, enabling designers to import more 3D data directly from Autodesk AutoCAD and Autodesk Alias. For a full feature list and additional details, please visit: https://www.unrealengine.com/en-US/blog/unreal-engine-4-21-released
  9. Hi guys We have a few positions available for our Viking battle sim. It is a first/third person 3d game set in norway. We are looking for a concept artist and an assistant producer. We have a team of devs already and we are still in pre production but any devs can contact me and I may be able to offer additional positions for the right dev. This is a part time project. Anyone interested must be dedicated and motivated. For more info please contact me
  10. Overview Realm of the Tempest is a personal and desultory exploration of creativity. When viewed as game development, my work is unprofessional, awkward, neglects the target audience, and disregards marketing value. After investing thousands of hours into this project, I don't think of it as a game at all. To me it is an intimate conversation between me and my compiler, that has been going on for 5 years. The only reason I pour my heart into my work is because it starts to reflect myself, which is the only sense of security I have ever had. Combat It has turn based 2D random encounter combat, because that's what I enjoy designing. Worlds It has 3D worlds because I like making 3D art. Music It has an original soundtrack, because I like making MIDI music
  11. Hello, everyone. There ara a little misunderstood, which I've resieved after spending some time working on a little bit more complex UI than I did usually. So my misunderstanding: what should I use to update from one widget to another: "Remove all widgets" or "Set widget visibility" or there is not much difference beetwen them in perfomance?
  12. The Wanderer, Single Player First Person dark fantasy RPG, with emphasis on looting, freedom & variety in choosing how to play, and world exploration. Looking for a capable programmer with UE4 experience to help finalize the gameplay mechanics, finish an alpha version demo, and with that find a publisher and funding to help continue the development. I'm a UI/3d artist from Transylvania, and I've been working on this project in my free time for the past 3 years. The environment for the alpha: Mechanical saw - an item that the player can assemble by finding cog wheels and other parts scattered throughout the world. Grom, the friendly NPC Character Window UI Items UI based on rarity Main Menu Button UI Overall description and how it's going to stand out The project is a spiritual succesor to gems such as Arx Fatalis, Diablo II, the Gothic, Spellforce and Dungeon Siege series etc. They all had interesting, captivating worlds and atmospheres, which really immersed you and took you to far away places. The perspective is First Person, so the game will have all the advantages that come with it, such as improved immersion and atmosphere, first person animations, and it has a niche since there are very few First Person RPG's. There is a strong emphasis on an interactive world, with a lot of hidden secrets and unique items that can actually be useful. Such as plants that you can harvest and use to augment your senses, which may also have hidden effects. Ore veins that you can mine, if you are skilled enough, the option to grow such skills and unlock more powerful ore. Lakes and ponds where you can fish (if you found or crafted a fishing rod) and have different possible catches, some more rare and valuable than others. The option to use these catches and plants to craft potions that may be used to improve your weapons or provide that extra edge needed to defeat a boss or have a greater chance of survival. Magic artefacts with dangerous effects, curses or spells, scrolls with unknown effects. Parts that you can use to assemble custom weapons with enough mechanical skill. Or you can just go ham and take on the beasts and foes directly, which will prove more challenging, but there is variety in that as well. The combat system gives you some control, allowing you to choose your own fighting style, with direction-based attacks and special moves, and weapons to choose from that can synergise with the chosen style or not. You can also take the path of the rogue and sneak up on people, steal their bread or deliver a critical back stab. On top of that, the skill tree provides an additional level of customization, being able to create unique builds such as attack speed builds (Agility) , tank builds (Vitality) , critical chance builds (Luck) etc. A ton of secret areas, hidden rooms, riddles and mysteries. Intricate world and level design. Every piece of the level is carefully handcrafted, designed to fit with the rest of the layout , every item is designed to fit as a piece of the puzzle which adds to the gameplay in a unique way, everything is deeper than meets the eye. Current Progress and Plan Player character: Jared, the rogue The first gameplay video, Player movement & stances animation system: Going straight down to the logistics, I've been creating assets and artwork for this project for 3 years now, and worked with several more or less serious programmers. For the past 2 years I've been working with UE4 and gathered experience in many of its different areas, such as Materials, Animation Blueprint, Level Design Blueprinting, character and asset importing, AI, Controller Blueprints and Behavior Trees, Post Processing, Lightning, Particle Creation, UMG and User Interface, working with source control and maintaining a clean folder space and naming conventions, and more. I have also created a 40 page graphic novel set in the same universe that acts as a prequel to the events in the game. We can use it to aid the promotional content. There is also a 100+ page extensive GDD. The current plan is an alpha gameplay demo that shows all the parts and features of the game that makes it stand out. -A dungeon environment with a few interactable elements that showcases the world style. -The player character, a dwarf friendly NPC, and 2-3 types of creatures. -A lot of items with unique features that the player can use. With these we can create a set of short gameplay videos, focusing on different themes and paths that the player can take: -Herbologist -collecting plants and using them to create potions. -Warrior -the flexible combat system. -Thief -stealing from the NPC and sneaking attacks, picking locked chests and other containers. -Dark artefacts -finding and using sinister magical items with unique gameplay and particles. -Mechanical - collecting all the parts scattered around the world and using the NPC to help you craft it into a mechanical weapon, repairing mechanical objects. -Prospector -mining various ores and using them to craft better weapons or even explosives. -Fisherman -using various baits that increase chances for rare or unique drops that can give permanent stat increases. With these videos we will look for a publisher and funding, then gather more artists and assemble a studio. Art side, the environment, characters and items, the player movement animations, the rat animations, the combat animations for the friendly NPC are all finished, the UI is partially finished with some polishing left to do, and the particles are partially finished. Programming/Gameplay side, the Inventory/Looting system is halfway finished. You can pick up, grab and move items around, throw them, collect them in the inventory and move them around in the different slots, and tooltip functionality. AI/combat system side, the animation system for the player and NPC's is finished. What's left is to add proper AI and damage/stat mechanics. I also created some AI but I'm not a programmer so it doesn't hold up to the standards that I would like, and I plan to leave that to the programmers and focus on the art side. There are also some destructible wood boxes, planks and barrel blueprints, and some random gameplay objects that you can interact with. Main programming that is left to do : -Finishing the inventory system, looting, unique item gameplay -Stat /Attributes system -AI and some combat mechanics -Various level design gameplay. Open Positions Programmer - AI/Combat system. Programmer - Inventory/Stat system. Looking for a capable programmer with UE4 experience to join forces and create a great RPG. The time frame will depend on how fast the programmers will advance as most of the art side is finished. Requirements: At least 1 and a half years UE4 experience. Understands the engine, the way it works and how it wants you to code things. A good understanding of OOP workflow and how the blueprints and C++ work together. UMG experience and an understanding of the Slate UI framework is a plus. At least 20-30 hours of time/week to work on the project, so that we can finish it before we grow old. The knowledge, expertise and capability of implementing the needed mechanics in a realistic time frame. A proactive positive attitude towards solutions and getting things done. So if you feel my vision and want to know more, and think you can bring this project to life, then contact me for more information at: Skype: andyblahblah1 Discord: Hermit#8917 or PM Thanks and have a great day!
  13. Hello everyone, first off, thank you for reading! About us Visualistic Studios was founded in 2013. Our focus is creating psychological horror games that pull you into the experience and disturb you. Our released game, Mist of the Dark, is a horror FPS that focuses on player tactics and intense encounters between players to create a dynamic horror experience. Our current team includes: Ryan (Myself) - ~5 years experience in UE4 (including beta), LinkedIn - https://www.linkedin.com/in/hobbsryan/ Thomas - Freelance Contractor 3 years UE4, 3 years working on Mist of the Dark. Seth - 1 year level design experience. Joshua - 3 years marketing experience. Zach - 3 years Marketing experience. Our game, "Mist of the Dark" Mist of the Dark, is currently out on Steam Early Access. It's a free-to-play horror FPS that focuses on creating the need for tactics and intense player interactions. We aim to create immersive and terrifying environments for players to scare and be scared. We started the project in March 2013, put it on hold in August of 2015, and revived the project in March of 2018 after gaining more experience in the field. We released our game with the intention of getting player feedback and bug-testing. Our reviews are mixed right now, but this is mainly due to player inactivity. We've been working on a solution to fix that, which is to integrate an AI and Matchmaking system so that players can automatically create or join a server and fill it with bots until players join. After this is done, we're going to be focusing on enhancing playability by introducing a new game mode: "Horde". This will be a survival defense scenario in which players will gather resources and defend themselves from endless hordes.  In the future, we look to adding features like a customizable Weapon System, new game-modes, new maps, tournament hosting, and more. Once our play-ability has reached an acceptable level, we're going to start offering items to players on a store. Store Items: Monsters Monster Skins Gun Skins Soldier Skins Monster Ability Particles Masks Tracers These are not the only items we will put in the store, but we want them to remain cosmetic as to not split our player-base. Our current installs are ~30,000, we've been on Steam for 3 months. What we're looking for Blueprint Programmer: Experience with Unreal Engine's Blueprint Scripting system. Including=; AI, Character Mechanics, Networking, Weapon System, and more. We will be working together on these projects, so if you get stumped we can help! Level Designer: Experience with Unreal Engine's level editor. Ability to design and create intuitive and engaging multiplayer FPS levels with pre-built mesh assets. UI Artist: Graphic Artist with experience creating game HUD UI and menu UI's. Looking for a clean and dark style. What we can offer Paid contract jobs - We just started a game development firm to help other developers get their projects finished and to release! We get offers from different companies with various tasks, and could offer these jobs to you based on what you're interested in. 10% gross royalties - You will receive 10% of gross royalties, with a cap. The cap is determined by the amount of work you've done based on milestones, plus 10% since you're working for future pay. Experience - Mist of the Dark is a released game on Steam, which looks great on a resume! We can also provide references when you've completed some work. Teaching - Thomas and myself are both very experienced in Unreal Engine and many other programs, and are very willing to help when you find yourself stumped. In Summary I hope that you have a good idea of what our game is, and if you have any questions at all feel free to email me at "ryan.hobbs@visualisticstudios.com", or get in contact with me on Discord "TSpartanT#4670" Thank you for your time!
  14. Dmitrty  Alexeev

    Unreal shader error

    Hi! my problem, shader isn't compiled, help pleasewho will be able, I do the program on embarcadero xe4. here two shader error code 0// frag uniform sampler2D tex0; uniform sampler2D tex1; uniform sampler2D dot3; uniform float phase; varying vec4 tc; varying vec4 dc; void main (void) { vec4 with = tc + texture2D (dot3, vec2 (dc.x + phase, dc.z)) * 0.4; gl_FragColor = texture2DProj (tex0, c) * 0.4 + texture2DProj (tex1, c) + vec4(0, 0, 0,-0.87); } _______________________________________________________________________________//vert varying vec4 tc; varying vec4 dc; varying vec3 eye; void main (void) { const mat4 m = mat4 (0.5, 0.0, 0.0, 0.0, 0.0, 0.5, 0.0, 0.0, 0.0, 0.0, 1.0, 0.0, 0.5, 0.5, 0.0, 1.0); gl_Position = gl_ModelViewProjectionMatrix * gl_Vertex; tc = m * gl_Position; dc = gl_Vertex * 0.025; } __________________________________________________________________________________
  15. Grant Shonkwiler worked as a producer on Fortnite, Doom, and Rage. In this talk he chronicles his journey from college, to lead designer on small mobile games, and finally into the AAA space. He also got the crowd to scream... in a library!
  16. Grant Shonkwiler worked as a producer on Fortnite, Doom, and Rage. In this talk he chronicles his journey from college, to lead designer on small mobile games, and finally into the AAA space. He also got the crowd to scream... in a library! View full story
  17. Aditya_Kumawat

    game development

    Hello, I'm an intermediate 3D artist. I want to get into game development industry. Bu have no clue where to kick start from. i did a little research over google. Says i need to learn a engine so i decided Unity3d ( of course Free version ) because it is indie favored also. turns out i need to learn c# too. and i have no clue in programming. so i need the learning path where to start my journey in game development. It might be a noobish question but if any help i would appreciate.
  18. I work in iClone 7. I am mainly a developer. I currently host medical records and various server related services. I am developing a small sci-fi thriller and a economic simulation very much like capitalism. I am requesting a couple artists that know iClone to create some basic male and female characters. Maybe a alien race, haven't decided on that. Just a couple good looking male characters, interchangeable heads, hair, body types, suits, uniforms, clothing sets, and space suits for those characters and some basic animations, walking, running, lifting, rolling, strafing, pick up, set down, duck, crouch, shooting, and talking. All done in iClone with xChange pipeline. If you could be interested you may send me a message or email me at career@i3dix.com This is not a large project, neither is it intended to be. It's a simple 3D shooter, sci-fi meant to be a intro into a larger Galaxy and a run into something I hope will be larger and captivating. The goal is fun, depth, and to capture people in a series like Star Trek, Star Wars, Star Gate, and many popular Sci-Fi's by linking current events with a possible future. Already have sound, textures, and special effects covered. Thanks.
  19. HI Devs We are looking for a Level designer to creating level maps a game. It is a 3D first/third person battle simulator. Its set in the Viking age in Norway and we want to create a brutal but fun game with focus game mechanics. We would like to have a stamina system that is linked to a weapon and armour weight system. This system will require management from the player if they hope to survive. This project is intended to be commerical so if all goes well, you will recieve a share. You will be creating level maps for the project. Working in unreal would be an advantage but we have other devs that can do this if needed. We have a handful of other devs that will be working on this, 3d artists, a composer, a programmer and concept. If you are reading this and your not a designer but want to be involved please message me as we are still looking for other devs and artists. Thank you
  20. Hello, everyone! Wanted to ask y'all a very brief question: I'm someone who likes to learn new programs by himself (as I presume most here are). Since I've already got the hang on graphic design and 3D modelling, I wanted to give game design a swing for a small, goofy hobby project. The idea is that I want to use some of the available design tools (like Unreal or Unity) to make a silly party / shooter game for me and my friends that we can have a laugh at during some game nights. But, before I started delving deeper into the whole ordeal, I wanted to ask a question - how possible is it to make multiplayer components in a non-commercial game using tools like UE4? LAN is not an option since our group of friends is really scattered around the place and don't have laptops :( I know it would be a really big undertaking, but I wanted to be sure if it's even possible to do an online game just for the bunch of us. Thank you in advance - Cheers!
  21. Reallusion’s CC3 completes the 3D game character pipeline for game developers. Access a highly optimized game character base for mobile, AR and VR developers then integrate InstaLOD’s model and material optimization technologies to generate game-ready characters that are animatable on-the-fly with multiple LOD outputs. CC3 is introducing a new Game Character Base with its topology optimized for Mobile, Game, AR/VR developers. The 10K polygon base also answers the call for displaying massive amount of NPCs or Citizens with true-to-life body and facial animation without serious performance drop in real-time render. Optimized Character for Game/AR/VR/Mobile ● Game Base Characters can be derived from any Standard CC Character. ● Retain visual quality after mesh simplification. ● Compatible with CC Morphs, Skin Presets, and Outfit System. Simplified Bone Structure for Facial and Body Animation ● CC bones optimized identically for game engine compatibility. ● Fully-rigged 10K polygon characters with detailed facial and body performance. ● Compatible with iClone character animation tools and mocap system. ● Access to full set of Facial Morphs for lip sync and emotional expression. InstaLOD inside Character Creator 3 fulfills the complete game character pipeline on polygon reduction, material merge, texture baking, remeshing and LOD generation. These necessary elements of game design are able to be completed for every character in one seamless process. After designing with character morphs, clothing, accessories and materials the InstaLOD embedded features finalize the gamification for each character and produce up to 5 levels of detail to load into Unity or Unreal game engines. Pricing and Availability: Character Creator 3 Pipeline is available directly from Reallusion or authorized Resellers. It is available for Windows operating systems only. For more information about price and system requirements, please visit https://www.reallusion.com/store/
  22. Reallusion’s CC3 completes the 3D game character pipeline for game developers. Access a highly optimized game character base for mobile, AR and VR developers then integrate InstaLOD’s model and material optimization technologies to generate game-ready characters that are animatable on-the-fly with multiple LOD outputs. CC3 is introducing a new Game Character Base with its topology optimized for Mobile, Game, AR/VR developers. The 10K polygon base also answers the call for displaying massive amount of NPCs or Citizens with true-to-life body and facial animation without serious performance drop in real-time render. Optimized Character for Game/AR/VR/Mobile ● Game Base Characters can be derived from any Standard CC Character. ● Retain visual quality after mesh simplification. ● Compatible with CC Morphs, Skin Presets, and Outfit System. Simplified Bone Structure for Facial and Body Animation ● CC bones optimized identically for game engine compatibility. ● Fully-rigged 10K polygon characters with detailed facial and body performance. ● Compatible with iClone character animation tools and mocap system. ● Access to full set of Facial Morphs for lip sync and emotional expression. InstaLOD inside Character Creator 3 fulfills the complete game character pipeline on polygon reduction, material merge, texture baking, remeshing and LOD generation. These necessary elements of game design are able to be completed for every character in one seamless process. After designing with character morphs, clothing, accessories and materials the InstaLOD embedded features finalize the gamification for each character and produce up to 5 levels of detail to load into Unity or Unreal game engines. Pricing and Availability: Character Creator 3 Pipeline is available directly from Reallusion or authorized Resellers. It is available for Windows operating systems only. For more information about price and system requirements, please visit https://www.reallusion.com/store/ View full story
  23. HI everyone We are looking for a game designer to assist with creating a game. It is a 3D first/third person battle simulator. Its set in the Viking age in Norway and we want to create a brutal but fun game with focus game mechanics. We would like to have a stamina system that is linked to a weapon and armour weight system. This system will require management from the player if they hope to survive. I have a rough GDD but I need a game designer to re write it and make it better. This project is intended to be commerical so if all goes well, you will recieve a share. You will also be doing other game design jobs throught the project. We have a handful of other devs that will be working on this, 3d artists, a programmer and concept. If you are reading this and your not a game designer but want to be involved please message me as we are still looking for other devs and artists but we cant start until the gdd is complete. thank you
  24. The Wanderer, Single Player First Person dark fantasy RPG, with emphasis on looting, freedom & variety in choosing how to play, and world exploration. Looking for a capable programmer with UE4 experience to help finalize the gameplay mechanics, finish an alpha version demo, and with that find a publisher and funding to help continue the development. I'm a UI/3d artist from Transylvania, and I've been working on this project in my free time for the past 3 years. The environment for the alpha: Mechanical saw - an item that the player can assemble by finding cog wheels and other parts scattered throughout the world. Grom, the friendly NPC Character Window UI Items UI based on rarity Main Menu Button UI Overall description and how it's going to stand out The project is a spiritual succesor to gems such as Arx Fatalis, Diablo II, the Gothic, Spellforce and Dungeon Siege series etc. They all had interesting, captivating worlds and atmospheres, which really immersed you and took you to far away places. The perspective is First Person, so the game will have all the advantages that come with it, such as improved immersion and atmosphere, first person animations, and it has a niche since there are very few First Person RPG's. There is a strong emphasis on an interactive world, with a lot of hidden secrets and unique items that can actually be useful. Such as plants that you can harvest and use to augment your senses, which may also have hidden effects. Ore veins that you can mine, if you are skilled enough, the option to grow such skills and unlock more powerful ore. Lakes and ponds where you can fish (if you found or crafted a fishing rod) and have different possible catches, some more rare and valuable than others. The option to use these catches and plants to craft potions that may be used to improve your weapons or provide that extra edge needed to defeat a boss or have a greater chance of survival. Magic artefacts with dangerous effects, curses or spells, scrolls with unknown effects. Parts that you can use to assemble custom weapons with enough mechanical skill. Or you can just go ham and take on the beasts and foes directly, which will prove more challenging, but there is variety in that as well. The combat system gives you some control, allowing you to choose your own fighting style, with direction-based attacks and special moves, and weapons to choose from that can synergise with the chosen style or not. You can also take the path of the rogue and sneak up on people, steal their bread or deliver a critical back stab. On top of that, the skill tree provides an additional level of customization, being able to create unique builds such as attack speed builds (Agility) , tank builds (Vitality) , critical chance builds (Luck) etc. A ton of secret areas, hidden rooms, riddles and mysteries. Intricate world and level design. Every piece of the level is carefully handcrafted, designed to fit with the rest of the layout , every item is designed to fit as a piece of the puzzle which adds to the gameplay in a unique way, everything is deeper than meets the eye. Current Progress and Plan Player character: Jared, the rogue The first gameplay video, Player movement & stances animation system: Going straight down to the logistics, I've been creating assets and artwork for this project for 3 years now, and worked with several more or less serious programmers. For the past 2 years I've been working with UE4 and gathered experience in many of its different areas, such as Materials, Animation Blueprint, Level Design Blueprinting, character and asset importing, AI, Controller Blueprints and Behavior Trees, Post Processing, Lightning, Particle Creation, UMG and User Interface, working with source control and maintaining a clean folder space and naming conventions, and more. I have also created a 40 page graphic novel set in the same universe that acts as a prequel to the events in the game. We can use it to aid the promotional content. There is also a 100+ page extensive GDD. The current plan is an alpha gameplay demo that shows all the parts and features of the game that makes it stand out. -A dungeon environment with a few interactable elements that showcases the world style. -The player character, a dwarf friendly NPC, and 2-3 types of creatures. -A lot of items with unique features that the player can use. With these we can create a set of short gameplay videos, focusing on different themes and paths that the player can take: -Herbologist -collecting plants and using them to create potions -Warrior -the flexible combat system -Thief -stealing from the NPC and sneaking attacks -Dark artefacts -finding and using sinister magical items with unique gameplay -Mechanical - collecting all the parts scattered around the world and using the NPC to help you craft it into a mechanical weapon -Prospector -mining various ores and using them to craft better weapons or even explosives -Fisherman -using various baits that increase chances for rare drops that can give permanent stat increases With these videos we will look for a publisher and funding, then gather more artists and assemble a studio. It sounds like a lot, but I have already created the assets and animations for all these items and objects, and imported most of them into the engine. I have also integrated the ones with custom animations into the player's animation blueprint. Art side, the environment, characters and items, the player movement animations, the rat animations, the combat animations for the friendly NPC are all finished, the UI is partially finished with some polishing left to do, and the particles are partially finished. Programming/Gameplay side, the Inventory/Looting system is in mid development. You can pick up, grab and move items around, throw them, collect them in the inventory and move them around in the different slots, and tooltip functionality. Animation system/AI side, the programmer assigned has done nothing, and eventually I took over and created the movement and combat animation system for the player. What's left is to integrate custom actions animations such as climbing stairs or other custom animations. I also created some AI but I'm not a programmer so it doesn't hold up to the standards that I would like, and I plan to leave that to the programmers and focus on the art side. There are also some destructible wood boxes, planks and barrel blueprints, and some random gameplay objects that you can interact with. What's left is: -Finishing the inventory system, looting, tooltips, equiping armor and weapons, stats, unique item gameplay -Stat system/Health/Energy/Experience/leveling up -Quest/Journal -Dialogue/Cutscenes -AI and combat mechanics -Various level design gameplay. Open Positions Programmer - AI & Combat system. Programmer - Quest & Dialogue/Cutscene system. Currently there is one programmer working on the Inventory/Looting system. Looking for a capable programmer with UE4 experience to join forces and create a great RPG. The time frame will depend on how fast the programmers will advance as most of the art side is finished. Requirements: At least 1 and a half years UE4 experience. Understands the engine, the way it works and how it wants you to code things. A good understanding of OOP workflow and how the blueprints and C++ work together. UMG experience and an understanding of the Slate UI framework is a plus. At least 20-30 hours of time/week to work on the project, so that we can finish it before we grow old. The knowledge, expertise and capability of implementing the needed mechanics in a realistic time frame. A proactive positive attitude towards solutions and getting things done. So if you feel my vision and want to know more, and think you can bring this project to life, then contact me for more information at: Skype: andyblahblah1 Discord: Hermit#8917 or PM Thanks and have a great day!
  25. This whitepaper was originally posted on the Unreal Engine Blog bySebastien Miglio at https://unrealengine.com/en-US/blog/create-photoreal-car-windows-in-unreal-engine. The original whitepaper by Min Jie Wu and edited by Robb Surridge is available for download at here. Republished with permission. Automotive glass can be a particularly challenging element for real-time automotive rendering. In the real world, car windows involve a complex interplay of light as it passes through multiple layers of material with different physical properties. These results can be difficult to imitate in a real-time renderer, while achieving an acceptable balance between physical realism and a fast enough frame rate. And to make things even more difficult, the windows of a car naturally attract the viewer’s attention — especially the windshield. Any unrealistic artifacts or reflections can easily destroy the overall effect of an otherwise high-quality rendering. This paper describes an approach to designing windshields in Unreal Engine 4 that delivers photoreal results in real time. See the results of this technique in the award-winning short film, The Human Race: Mesh Structure This technique begins with the way the windshield is modeled. The windshield needs to be made up of four independent meshes or mesh groups. Each of these four meshes needs to be single-sided. The following diagram summarizes the layout of the meshes: Figure 1: Mesh layout There are two outer layers of the windshield, Mesh 1 and Mesh 2, that have their normals pointing outward toward the exterior of the vehicle. These are represented by the red and yellow lines. There are two inner layers, Mesh 3 and Mesh 4, that have their normals pointing inward toward the inside of the vehicle. These are represented by the green and blue lines. This detail view shows how these four meshes are arranged with respect to each other in 3D space: Figure 2: Mesh arrangement in 3D space Mesh 1, the exterior reflective layer, forms the outer skin of the windshield. It will provide the reflections that you see from outside the vehicle. Its normals point outward from the vehicle. Figure 3: Mesh highlighted in orange At a distance of half the windshield’s total thickness, you have Mesh 2, the outer tint layer. When you look at the windshield from the outside, this layer tints your view of the inside of the car according to the color of the glass. Its normals also point outward, in the same direction as Mesh 1. Figure 4: Mesh 2 highlighted in orange Figure 5: Mesh 3 highlighted in orange Back to back with Mesh 2, you have Mesh 3, the inner tint layer. When you look out through the windshield from inside the car, this layer tints your view of the outside surroundings according to the color of the glass. Its normals point inward. Figure 6: Mesh 4 highlighted in orange Finally, at the innermost extent of the windshield, Mesh 4 provides the reflections of the interior of the car that you see when looking out from the inside. Its normals point inward. The following image shows the Static Mesh Actors for these four meshes in the World Outliner in the Unreal Editor: Figure 8: Static Mesh Actors in the World Outliner Below, all four layers are shown in the viewport of the Unreal Editor, in wireframe and lit modes: Figure 9: Four layers in the viewport Material Design This technique requires two different translucent Materials: A reflective Material, which you’ll apply to the exterior and interior surfaces of the windshield. A tint Material, whose only job is to color the things that you see through the glass. Material 1: Reflective The goal of this Material is to handle only the light that gets reflected off the glass. We want this layer of the windshield to be fully transparent when we look at it straight on, but very reflective when we look at it at a grazing angle. To model this in Unreal Engine, we need to start with a translucent Material. When you select your Material’s output node in the Material Editor, set the following values in the Details panel: Set the Blend Mode to Translucent. Set the Lighting Mode to Surface TransparencyVolume. Enable Screen Space Reflections. Figure 10: Details panel in the Material Editor for the reflective Material In the Material’s graph, we set it up as a mirrorlike chrome, but we also tie its opacity to the camera’s viewing angle using the Fresnel node. Make the Base Color white. Set the Metallic and Specular inputs to 1.0. Set the Roughness input to 0.0. Ordinarily, a white, perfectly reflective, and perfectly metallic surface would have the appearance of smooth chrome. However, we also attach the Fresnel node to the Opacity input of the material’s output node. This makes those crisp reflections appear only where the curvature of the glass causes us to see it at a sharp enough angle for the Fresnel function to begin affecting the opacity. Anywhere the viewing angle is close to the normal of the mesh, the glass remains clear. Figure 10: Materials graph Car windshields typically use an athermic glass, which has slightly more reflectance than plain glass. The following image illustrates how the reflectivity of the athermic material changes over different wavelengths of incoming light: Figure 11: Material graph for the reflective Material To simulate this physical property, and make your reflections fit your scene more accurately, you can adjust the values of the Exponent and BaseReflectFraction inputs that you pass to the Fresnel node (called EXP and Intensity respectively in the Material shown above). This gives you control over the strength of the reflections and how they fade over the curvature of the glass. Figure 12: Effect of passing different input values to the Fresnel node Material 2: Tint The goal of this Material is to handle only the light that passes through the glass. We want this layer of the windshield to ignore reflections completely, but to color light that passes through the glass according to the tint of the windshield. To model this in Unreal Engine, we need another translucent Material. When you select your Material’s output node in the Material Editor, set the following values in the Details panel: Set the Blend Mode to Translucent. Set the Lighting Mode to Surface TransparencyVolume. This time, disable Screen Space Reflections. For this Material, we want to avoid all specular and reflective contributions. A simple way to set up the graph for this Material is to use a constant Opacity setting. Make the Base Color the color of the glass. Always use a Specular input of 0.0. This allows light to pass evenly through the glass. Use a Roughness input of 1.0. Use the Opacity channel to control how dark the glass is — that is, how much of the interior of the vehicle you can see from the outside. You can vary this value freely to make the tint effect as strong as you need it to be. Figure 13: Details panel in the Material editor for the tint Material Figure 14: Material graph for the tint Material A slightly more sophisticated setup is to vary the opacity of the glass based on the viewing angle of the camera, as we did in the reflective Material above. In the reflective Material, increasing opacity adds to the strength of the reflections. However, in the tint Material, increasing the opacity simulates the greater absorption of light as it passes through the glass at a sharper angle. The effect is that as your viewing angle increases, less light comes through the glass, and the objects on the other side become harder to see. Figure 15: Material graph for the tint Material, with optional absorption setup You can control the strength of the effect by raising or lowering the value of the absorption parameter shown above. However, this effect works best when you keep it very subtle. If you choose to use absorption, we recommend keeping the value below 0.1. Mesh and Material Assignments Now that you have your Static Mesh Actors and your two Materials ready, you need to assign the correct Materials to the correct Actors: Mesh 1, the exterior reflective layer: Assign the Reflective Material. Mesh 2, the outer tint layer: Assign the Tint Material. Mesh 3, the inner tint layer: Assign the Tint Material. Mesh 4: the interior reflective layer: Assign the Reflective Material. Sorting Translucency The final step in using this technique is to set up the translucency sort priority for the four Static Mesh Actors. When Unreal Engine needs to render multiple translucent objects that overlap in the camera view, it has to draw the objects in back before the objects in front. To figure out the drawing order, it compares the distance from the camera to the origin point of each object’s bounding box. Although this works most of the time, this strategy is not perfect; it can occasionally result in the rear object being drawn in front. To avoid that possibility, we can give the Engine a hint by setting the Translucency Sort Priority option for each of the four Static Mesh Actors in the Level. To find this option, select the Static Mesh Actor for each part of the windshield in either the Viewport or the World Outliner, scroll down in the Details panel to the Rendering section, and expand the advanced properties. Set the Actors to use the following values: Mesh 1: 1 Mesh 2: 0 Mesh 3: 0 Mesh 4: 1 With these settings, the Engine always chooses to render the inner layers of the windshield behind their corresponding outer layers. This retains the correct order for windshield rendering even if the camera flies into or out of the car. Conclusion With four Static Mesh Actors and two Materials set up as described above, you can achieve high-quality, realistic, and performant glass for any automotive rendering project in Unreal. Learn more about Unreal Engine at https://unrealengine.com. [Wayback machine archive]
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