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Mastering Unreal Technology, Volume II: Advanced Level Design Concepts with Unreal Engine 3

   
지은이 Jason Busby   |   출판사 SAMS  |   발행일 2009년 09월 01일   |   언어 : English
 
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발행일 2009-09-01 | 중량: 1.76 kg | 사이즈: 18.6*23.1*5.3 cm
ISBN 0672329921 | 9780672329920
기타정보 원서 | 800쪽 | $ 59.99 | Hardcover
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    Mastering Unreal Technology, Volume II: Advanced Level Design Concepts with Unreal Engine 3 is your start-to-finish guide to state-of-the-art Unreal Tournament 3 modding and level design. Here’s everything you need to know to take your game design skills to the next level, creating content with breakthrough depth and interactivity! Your authors aren’t just the world’s #1 Unreal game development trainers: They’ve built the training mods that shipped with Unreal Tournament. Now, working with the full cooperation of Unreal Engine 3’s creators, Epic Games, they introduce innovative, pro-quality techniques you’ll find nowhere else: outstanding solutions for everything from particle effects to physics, materials to cinematics. Packed with tips, hands-on tutorials, and expert insight, Mastering Unreal Technology, Volume II will help you take Unreal Tournament 3 and Unreal Engine 3 to the limit...and then blow right by it!



    You’ll find expert tips on

    •Creating advanced materials that leverage the full power of UnrealEd’s Material Editor
    •Bringing levels to life with objects affected by gravity, collisions, and player influence
    •Creating fire, smoke, sparks, and more with Unreal Engine 3’s particle effects system
    •Building custom user interfaces, including Heads-Up Displays (HUDs) that update constantly
    •Using SoundCues to mix, modulate, crossfade, and attenuate sounds
    •Generating real-time camera-based effects, including depth of field, motion blur, and color adjustment
    •Using post process effects to quickly transform a scene’s look and feel without changing existing materials or textures
    •Animating characters and vehicles that move with unprecedented realism
    •Creating in-game cinematics that develop your characters and move your story forward


    Table of Contents

    CHAPTER 1: Introduction to Advanced Level Design . . . 1

    Who Is This Book For? . . . 2

    What Should You Know Before You Start? . . . 2

    What We Mean By “Advanced” Level Design . . . 3

    Included Assets and Game Assets . . . 3

    Working with INI Files . . . 4

    Future Software Changes . . . 5

    CHAPTER 2: Advanced Material Construction . . . 7

    Material Instancing and Parameters . . . 7

    Blending . . . 9

    UV Manipulation . . . 10

    Normals . . . 11

    Depth . . . 12

    Special Lighting . . . 13

    Reflections . . . 14

    Distortion . . . 14

    Transparency . . . 15

    Subsurface Scattering . . . 16

    Custom Lighting Models . . . 16

    Summary . . . 151

    CHAPTER 3: Working with Volumes . . . 153

    Available Volume Types . . . 154

    Basic Volume Properties . . . 156

    BlockingVolumes . . . 156

    PhysicsVolumes . . . 159

    TriggerVolume . . . 170

    PostProcessVolume . . . 186

    LevelStreamingVolume . . . 188

    LightVolume . . . 188

    ColorScaleVolume . . . 189

    ReverbVolume . . . 189

    RB_ForceFieldExcludeVolume . . . 190

    UTAreaNamingVolume . . . 190

    UTAutoCrouchVolume . . . 190

    FoliageFactory . . . 190

    Summary . . . 192

    CHAPTER 4: Physics Objects . . . 193

    Types of Physics Objects . . . 193

    The Concept of Rigid Bodies . . . 196

    Working with Rigid Bodies in Unreal . . . 197

    KActors . . . 200

    KAssets . . . 208

    Constraints . . . 211

    The Physics Asset Tool (PhAT) . . . 229

    Cloth . . . 245

    Impulse and Force Actors . . . 252

    Physics-Specific Kismet Sequence Objects . . . 258

    Physical Materials . . . 263

    Summary . . . 268

    CHAPTER 5: Creating Special Effects with Particle Systems . . . 269

    Anatomy of a Particle System . . . 271

    TypeData Modules . . . 283

    Modules . . . 286

    Cascade Particle System Editor . . . 293

    Particle-Specific Material Expressions . . . 301

    Types of Particle Modules . . . 312

    Beam Emitters . . . 356

    Mesh Emitters . . . 374

    Trail Emitters . . . 382

    Fluid Emitters . . . 393

    Levels of Detail . . . 397

    Emitter Actor . . . 406

    Modifying Particle Systems In-Game . . . 407

    Troubleshooting the Effect . . . 480

    Summary . . . 481

    CHAPTER 6: Creating User Interfaces . . . 483

    UI Components . . . 483

    UIs Versus HUDs . . . 484

    UI Design Workflow Overview . . . 485

    The UI Scene Editor . . . 492

    The UI Widgets . . . 496

    Working with Widgets . . . 498

    Widgets States . . . 513

    Widget Navigation and the Focus Chain . . . 541

    Working with User Inputs . . . 543

    Data Stores . . . 548

    Styles and Skins . . . 549

    Fonts . . . 566

    Adding Functionality . . . 569

    Sounds . . . 598

    Creating HUDs . . . 600

    Summary . . . 601

    CHAPTER 7: Sound System . . . 603

    Sound Types . . . 604

    USounds Versus SoundCues . . . 604

    The AmbientSound Actors . . . 612

    The SoundCue Editor . . . 613

    SoundCue Nodes . . . 614

    Kismet Sound Actions . . . 632

    Working with Music . . . 638

    Working with MusicTrackBanks . . . 642

    Summary . . . 666

    CHAPTER 8: Post-Process Effects . . . 667

    The Four Key Methods of Controlling Post-Processes . . . 668

    Accessing and Assigning PostProcessEffect Objects . . . 670

    Types of Post-Process Effects . . . 675

    Post-Process Editor . . . 681

    Controlling Post-Process Effects In-Game . . . 715

    Summary . . . 716

    CHAPTER 9: The Unreal Animation System . . . 717

    The Unreal Animation System . . . 718

    Skeletal Animation . . . 723

    Morph Animation . . . 734

    AnimSet Editor . . . 737

    Animation Blending . . . 753

    AnimTree Editor . . . 754

    AnimTree Editor Nodes . . . 770

    Morph Nodes . . . 796

    Facial Animation with FaceFX . . . 839

    FaceFX Studio . . . 840

    FaceFX Studio User Interface . . . 872

    Physical Animation . . . 900

    Setup Procedure for Physical Animation . . . 906

    Skeletal Mesh Actors . . . 907

    Skeletal Mesh Component . . . 907

    Summary . . . 909

    CHAPTER 10: Creating Cinematic Sequences . . . 911

    Cinematic Sequences . . . 911

    Camera Actor . . . 915

    Camera Effects . . . 916

    Image Separation Through Lighting . . . 920

    DumpMovie Command . . . 920

    Putting It All Together . . . 920

    Summary . . . 999

    APPENDIX A: Distributions . . . 1001

    Overview . . . 1001

    Distribution Types In-Depth . . . 1003

    General Performance Cost Comparison . . . 1019

    APPENDIX B: The Curve Editor . . . 1023

    Animation Curves . . . 1024

    Controlling Interpolation Curves . . . 1026

    Curve Editor Interface . . . 1030

    Preset Curves . . . 1035

    Index . . . 1039

    CD-ROM fixes
    Download the missing Chapter 2 maps


    Jason Busby is the founder of 3D Buzz (www.3dbuzz.com) a digital animation consultancy and training firm. Jason is also the Director of Animation for The Renaissance Center in Dickson, TN. He has over 15 years experience in programming and digital animation and is expert in the creation of digital video training. See http://www.xsibase.com/articles.php?detail=21 for an online interview with the author.

    Zak Parrish is currently an animation instructor at The Renaissance Center, where he teaches both Alias Maya and Discreet 3ds max. For the past two years, he has worked with Jason Busby and 3D Buzz, Inc. to help provide top-quality education to students across the world. His work can be seen on many of the 3D Buzz VTMs as well as in the UT2004 Special Edition training video series. In what little spare time he manages, he is also seeking his bachelor of fine arts degree at Austin Peay State University.
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