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A new TV spot and behind-the-scenes video for The Witcher 3: Wild Hunt have debuted online, showing off CD Projekt RED’s latest title.

CD Projekt RED has released both a new TV spot as well as behind-the-scenes video for The Witcher 3: Wild Hunt, a story-driven next-generation open world role-playing game set in a visually stunning fantasy universe full of meaningful choices and impactful consequences.

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Remember Me VFX Breakdown is a compilation of visual effects created for Dontnod Entertainment by Orson Favrel. He is a VFX artist specialising in Unreal Editor and Unity 3D work along with 3ds Max, Pflow, FumeFx, Houdini and Zbrush. It’s fascinating to see how many of the in-game effects were created with these tools, using techniques such as mesh, shaders, particles and vertex deformation.

Read on to see the Remember Me VFX Breakdown as well as the Orson Favrel “Remember Me” VFX Reel.


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Rayman Legends had a fun and fresh trailer for E3 featuring plenty of visual FX. Toufik Mekbel, a France based Visual effects designer, worked on that trailer and provided some breakdowns of his FX work.

3D Studio Max was used to create the effects, utilising several plugins. The frog slobber was created with Frost and Cloth, Pflow was used for the critter horder, sparks & stardust, and also used with Fumefx to create the smoke trails.

Read on to see the stills and watch Breakdown Slobber Rayman E3 Trailer, Rayman E3 trailer, Fx breakdown and the final trailer Rayman Legends Trailer E3.

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Sony Computer Entertainment have published a Making Of Beyond: Two Souls development video. The behind the scenes documentary shows how the extensive performance capture created every second of movement in the game, from basic character actions and facial movements to fight scenes and action sequences. The graphics section covers the art direction for the games locations, action sequences and the character design, which had to develop along the fifteen year story arc.

In this latest video posted by Sony, they go behind the scenes of Beyond: Two Souls, this time taking a look at the graphics aspect of the much anticipated upcoming game by Quantic Dream. They’ve also got the third of beyond two souls four part ‘Making Of’ series, which details the huge undertaking that was the year-long performance capture shoot.

Read on to watch the Making Of Beyond: Two Souls video and see concept art and screenshots of the game in development.
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Autodesk have published some Splinter Cell: Blacklist development videos in their Digital Entertainment & Visualisation Community website, Area. They explain how using tools like 3DS Max, MotionBuilder and Scaleform, Ubisoft Toronto has taken the latest generation of Splinter Cell to the next level.​

In the first video the designers discuss the importance of building game UI seamlessly into the game world in the most natural way possible to improve gameplay experience. In the second they discuss the process and tools they used to create the most realistic Sam Fisher to date. Combined with full motion and facial capture, Ubisoft used a pipeline including 3ds Max and MotionBuilder to ensure that the game’s characters move fluidly no matter how acrobatic the player wants to be.​

Read on to see screenshots of the game in development and see the video series on Ubisoft’s Splinter Cell: Blacklist.
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The Crew is a community-based action-driving game set in a massive open-world, developed by Ivory Tower for next-gen consoles and high-end PC, in partnership with Ubisoft Entertainment.

Unit Image, creators of the cinematic trailer, have not given any details of the tools or pipeline used for the VFX piece, but they have released a ‘making of’ video. It shows several scenes from the trailer in different rendered states such as wireframe model, untextured with global illumination, textures and lighting, and particles and effects.

Read on to see The Crew trailer, the ‘making of’ video and high res screenshots.


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The Last Of Us title sequence has been featured by Art of the Title, the leading online resource of title sequence design, spanning the film, television, conference, and videogame industries. It includes a fascinating discussion with Naughty Dog Creative Director Neil Druckmann, Title Sequence Director/DP Kevin Joelson, and Title Design Director Henry Hobson. The majority of the shots have been achieved in camera using macro photography to film sponges, ink and compressed air in slow motion.

Read on to see The Last Of Us title sequence and stills.

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The Banner Saga is a beautifully animated turn-based strategy game created by Stoic Studio. Eyvind Earle, the American master, was the inspiration behind the distinctive art style, with each character painstakingly hand-animated in the style of classic animated films. Recently Kotaku’s Fine Art column declared, “It’s truly some of the most impressive stuff we’ve ever featured on Fine Art, and that’s saying something.” It certainly is. High praise indeed and deservedly so.

Read on to see the launch trailer and behind the scenes videos, as well as an avalanche of artwork from the game.

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Infinity Ward have released a behind the scenes preview video for their first next-gen title, Call Of Duty: Ghosts. There has been some discussion online as to whether the current-gen Battlefield 4 has a superior level of graphics quality than Call Of Duty: Ghosts. It’s still early days for next-gen though, so hopefully we will have better idea later in the year. In the meantime, it’s always great to see the various stages of great artwork in development.

Infinity Ward Executive Producer Mark Rubin and the Call of Duty: Ghosts development team discuss the all-new world, story and characters, and take you inside the new, next-gen engine.

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Autodesk have uploaded a fascinating presentation by Judd Simantov on the character rigging and modelling techniques used by Naughty Dog in the upcoming survival action game, The Last of Us.

Judd Simantov, 3D artist and Co-founder of Game Character Academy, presents his work on Naughty Dog’s latest project, The Last of Us. His presentation shows the techniques he used in modeling and rigging the game’s primary characters, and he covers special considerations for artists who want to maximize realism and evoke an emotional response from players.

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