???????? Lords of Shadow 2 - konami.jp LoS2

Introduction

Klicken Sie auf den jeweiligen Ausschreibungsgegenstand, um den Bekanntmachungstext einzusehen.

Die Tabelle enthält 43 Treffer zum Stand vom 15.09.2018 07:34.

AusschreibungsgegenstandvomFrist bisArt der FristOrtArt der Leistung
Sanierung Toranlage Innenhof (1426-18-B-EO-21)14-SEP-1825-OCT-18AngebotsfristThüringer Staatskanzlei Regierungsstraße 73 ErfurtVOB
Elektroinstallation (1318-18-B-Ö-51)14-SEP-1818-OCT-18AngebotsfristAmtsgericht AltenburgBurgstraße 1104600 AltenburgVOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 1314-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 1214-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 1114-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 1014-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 914-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 814-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 714-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 614-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 514-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 414-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 314-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 214-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Neubau Feuerwehrgerätehaus Gebstedt - Los 114-SEP-1810-OCT-18AngebotsfristGebstedt 31, 99518 Bad Sulza, OT GebstedtFlur 1, Flurst. 166VOB
Umgestaltung KITA Montessori, Hardenbergstraße 23, 99734 Nordhausen; Los 6 - Schlosserarbeiten14-SEP-1816-OCT-18AngebotsfristKindertagesstätte ¿Montessori", 99734 Nordhausen, Hardenbergstraße 23VOB
Umgestaltung KITA Montessori, Hardenbergstraße 23, 99734 Nordhausen; Los 5 - Tischlerarbeiten14-SEP-1816-OCT-18AngebotsfristKindertagesstätte ¿Montessori", 99734 Nordhausen, Hardenbergstraße 23VOB
Umgestaltung KITA Montessori, Hardenbergstraße 23, 99734 Nordhausen; Los 4 - Außenanlagen14-SEP-1816-OCT-18AngebotsfristKindertagesstätte ¿Montessori", 99734 Nordhausen, Hardenbergstraße 23VOB
Umgestaltung KITA Montessori, Hardenbergstraße 23, 99734 Nordhausen; Los 3 - Metallbauarbeiten14-SEP-1816-OCT-18AngebotsfristKindertagesstätte ¿Montessori", 99734 Nordhausen, Hardenbergstraße 23VOB
Umgestaltung KITA Montessori, Hardenbergstraße 23, 99734 Nordhausen; Los 2 - Bauhauptgerwerke14-SEP-1816-OCT-18AngebotsfristKindertagesstätte ¿Montessori", 99734 Nordhausen, Hardenbergstraße 23VOB
Umgestaltung KITA Montessori, Hardenbergstraße 23, 99734 Nordhausen; Los 1 - Sonnenschutz14-SEP-1816-OCT-18AngebotsfristKindertagesstätte "Montessori", 99734 Nordhausen, Hardenbergstraße 23VOB
Baum- und Gehölzpflanzungen im Stadtgebiet Nordhausen und Ortsteile; Tiefbau-, Pflanz- und Pflegearbeiten14-SEP-1804-OCT-18Angebotsfrist99734 Nordhausen, Stadtgebiet und OrtsteileVOB
Baumpflanzung Parkallee, Nordhausen; Tiefbau- und Pflanzarbeiten14-SEP-1804-OCT-18Angebotsfrist99734 Nordhausen, ParkalleeVOB
GRW-Maßnahme "Wiederherstellung Gewerbestandort Hüpedenweg/Dreistreif Nordhausen"; Los 8 - "Ausgleichsmaßnahmen" Baumpflanzungen14-SEP-1804-OCT-18Angebotsfrist99734 Nordhausen, IFA- Industriepark Nordhausen/ Hallesche StraßeVOB
Erweiterung und energetische Sanierung der Kindertagesstätte "Pusteblume" im OT Neundorf 39418 Staßfurt - Los 6 Gerüstbauarbeiten14-SEP-1818-OCT-18Angebotsfrist39418 Staßfurt, Ortsteil Neundorf (Anhalt), Feldstraße 2 , Kindertagesstätte "Pusteblume"VOB
BAB A 38, Jahresvertrag FRS Stahl 2019/2020, AM Breitenworbis14-SEP-1802-OCT-18AngebotsfristFreistaat Thüringen, BAB A 38, Betr.-km 15,2 bis 81,8VOB
Schließanlage (1428-18-B-EO-21)13-SEP-1825-OCT-18AngebotsfristThüringer Staatskanzlei Regierungsstraße 73 ErfurtVOB
Heizungs- und Lüftungsinstallation (1413-18-B-Ö-51)13-SEP-1818-OCT-18AngebotsfristAmtsgericht AltenburgBurgstraße 1104600 AltenburgVOB
Grundschule "West"- Umbau und Sanierung; Los 16: Bauendreinigung13-SEP-1825-SEP-18Angebotsfrist07407 Rudolstadt, Gustav-Freytag-Straße 4VOB
Grundschule "West"- Umbau und Sanierung; Los 14: Essenausgabetresen13-SEP-1825-SEP-18Angebotsfrist07407 Rudolstadt, Gustav-Freytag-Straße 4VOB
Grundschule "West"- Umbau und Sanierung; Los 15: Fliesenarbeiten13-SEP-1825-SEP-18Angebotsfrist07407 Rudolstadt, Gustav-Freytag-Straße 4VOB
Erfurt, Max-Reger-Straße 1, Metallbau (141181)12-SEP-1810-OCT-18AngebotsfristAgentur für Arbeit Erfurt, Max-Reger-Straße 1, 99096 ErfurtVOB
Elektroinstallation - Erneuerung Brandmeldeanlage (1430-18-B-Ö-51)12-SEP-1828-SEP-18AngebotsfristFriedrich-Schiller-Universität Jena,Charlottenstraße 23,07743 JenaVOB
Sanierung Grundablassrohre (1404-18-B-Ö-81)12-SEP-1809-OCT-18AngebotsfristStandortübungsplatz Bad Salzungen,Hersfelder Straße,36433 Bad Salzungen,Talsperre Übelroda,VOB
Dachabdichtungsarbeiten Neubau Kindertagesstätte11-SEP-1827-SEP-18Angebotsfrist39418 Staßfurt, Ortsteil Neundorf, Feldstraße 2, Kindertagesstätte "Pusteblume"VOB
Interimscontainer (1407-18-B-Ö-21)11-SEP-1827-SEP-18AngebotsfristFriedrich-Loeffler-Institut Jena,Naumburger Str. 96a,07743 JenaVOB
Elektroinstallation - Erneuerung Brandmeldeanlage (1429-18-B-Ö-51)11-SEP-1828-SEP-18AngebotsfristFriedrich-Schiller-Universität Jena,Forstweg 26,07743 JenaVOB
Los 1 - Gerüstbau und Baustelleneinrichtung, Regelschule "Geschwister Scholl" in 04610 Meuselwitz, Beseitigung Fassadenschäden11-SEP-1802-OCT-18AngebotsfristRegelschule "Geschwister Scholl" in 04610 Meuselwitz, Geschwister-Scholl-Str. 9/10VOB
Los 2 - Dachdecker- und Dachklempnerarbeiten, Regelschule "Geschwister Scholl" in 04610 Meuselwitz, Beseitigung Fassadenschäden11-SEP-1802-OCT-18AngebotsfristRegelschule "Geschwister Scholl" in 04610 Meuselwitz, Geschwister-Scholl-Str. 9/10VOB
Los 3 - Fassadeninstandsetzungsarbeiten, Regelschule "Geschwister Scholl" in 04610 Meuselwitz, Beseitigung Fassadenschäden11-SEP-1802-OCT-18AngebotsfristRegelschule "Geschwister Scholl" in 04610 Meuselwitz, Geschwister-Scholl-Str Quick heal

9/10
VOB
Metallbau- und Schlosserarbeiten (1484-18-B-Ö-21)10-SEP-1821-SEP-18AngebotsfristPolizeiinspektion Saale Orla,Am Alten Berg 7,07907 SchleizVOB
Dachsanierung , Alte Post, Lobbeckerstraße 10, 38889 Blankenburg (Harz)10-SEP-1827-SEP-18AngebotsfristLöbbeckestraße 10, 38889 Blankenburg (Harz)VOB
Erneuerung der Käthe-Kollwitz-Straße in Bleicherode10-SEP-1809-OCT-18AngebotsfristStadt Bleicherode, Käthe-Kollwitz-Straße(Einmündung auf Freiheitsstraße bis Einmündung auf Karl-Liebknecht-Straße)VOB

Contaminacion del Rio Matanza (Riachuelo) Argentina .

“Vamos de Paseo” es un programa llevado adelante por la ANSES para que las personas mayores puedan conocer las grandes atracciones que tiene nuestro país, ofreciendo turismo nacional a jubilados y pensionados de ANSES, con las siguientes características:

  • Paquetes de 7 días / 6 noches y de 4 días / 3 noches, según el destino elegido.
  • Pasaje aéreo, viajando por Aerolíneas Argentinas.
  • Hotelería de 3 y 4 estrellas.
  • Habitaciones simples, dobles y triples.
  • Desayuno continental/buffet, de acuerdo al servicio del hotel.
  • Traslados y excursiones en servicio regular o privado, en vehículos de turismo debidamente habilitados por autoridad competente con servicio de guía habilitado.
  • Fechas de salida de acuerdo a la disponibilidad aérea y/o terrestre.
  • Entradas a museos, parques y atracciones locales.
  • Acceso a financiación de 12 , 24 o 36 cuotas fijas por mes.

DESTINOS POSIBLES:

  • Jujuy 4 días / 3 noches.
  • Salta 4 días / 3 noches.
  • Tucumán 4 días / 3 noches.
  • Mendoza 4 días / 3 noches.
  • Mendoza y San Rafael 6 días / 5 noches.
  • San Juan 4 días / 3 noches.
  • Catamarca 4 días / 3 noches.
  • Bariloche 4 días / 3 noches.
  • Bariloche y Villa la Angostura 7 días / 6 noches.
  • Corrientes, Esteros del Ibera 4 días / 3 noches.
  • Santiago del Estero 4 días / 3 noches.
  • Chaco e Isla del Cerrito 4 días / 3 noches.
  • Buenos Aires 4 días / 3 noches.
  • San Martín de Los Andes 4 días / 3 noches.
  • San Luis, Merlo 4 días / 3 noches.
  • Chubut, Esquel 4 días / 3 noches
  • Posadas, San Ignacio e Iguazú 5 días / 4 noches.

El programa, de alcance nacional, está dirigido a todos los adultos mayores que cumplan con los siguientes requisitos :

  • Ser Jubilado o Pensionado de ANSES (se excluyen Pensiones No Contributivas y Graciables).
  • Disponer del cupo necesario en el Haber Neto del Beneficio, el que no podrá superar el 40 % del mismo al iniciar la solicitud del viaje.
  • Poseer DNI, LC, LE o CI en condiciones Microsoft Visio PRO 2013 RTM

MAS INFO AQUI…

Fuente: ANSES


Etiquetas (navegá y buscá temas similares a este): ANSES, jubilados, turismo, viajes

La Pendeja - Poringa!

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84

2015 Ferrari California Reviews and Rating Motor Trend

Hi, my name is Francisco García-Obledo Ordóñez and I’m a Senior VFX Artist working at King Barcelona, city where I was born 34 years ago. I started working in the industry in 2005 as a 3D artist in a small company here in Barcelona. At that time videogames productions weren’t that big so being an artist meant having to deal with a lot of different tasks: modeling, uv mapping, rigging, texturing, lighting, etc.

My transition to VFX Artist started in my second company, the Barcelona studio of Grin, swedish company creators of Bionic Commando and, the one I worked on was Wanted: Weapons of Fate. This was my first time moving away from intensive art tasks and I took care of more technical tasks being responsible of helping the environment/props team to export assets and dealing with programmers to implement new features (shaders, gameplay, tools, etc). When I joined Mercury Steam in 2011 I officially became a VFX Artist. I worked on Castlevania Lords of Shadow 2 and I was responsible of almost all the VFX work: power ups, magic, character effects, gameplay effects, etc. I learned tons from this experience as this allowed me to start getting deep into the VFX community, knowing terminology, plugins, software and, most importantly, people in the industry who also were working as VFX Artists.

When we finished the game I decided to move from my comfort zone and try in a new country to join a team of 4 VFX Artists. I was hired at Splash Damage (London) in 2014 where we developed Gears of War Ultimate Edition. It was my first experience working with commercial engine (the original Unreal Engine) from start to the end of a project and it gave me another perspective of how VFXs should be done. I took over tasks such as Unreal Script, shaders creation, etc. It was a huge responsibility working on such an iconic game but I think it paid off because, after working on Gears of War 4, I decided to join Rockstar North (Edinburgh) to work on such a huge game as Red Dead Redemption 2. I was part of a team of 10-12 people including FX Artists and graphic/gameplay programmers. It was very challenging/rewarding going back to work on proprietary engine and being able to implement new features, shaders, etc.

For personal reasons I moved to King in Barcelona and at the moment I’m working on games currently in development as a VFX Specialist. I’m assuming a new role within the company trying to bring the specialization to mobile game development, where usually roles have been more of generalists.

Main Tasks of VFX Artists

When talking exclusively about VFXs, I would talk about 2 major types of tasks: gameplay effects and environmental effects. It depends a lot on the project we are working on how these are divided. For example, in a game like Castlevania (hack and slash), 90% of the vfx tasks consisted on character powers, magics,… that really make an impact on the gameplay. These kind of tasks require a big understanding of the game mechanics and involve constant communication with the design team, with which you have to constantly negotiate. For example, let’s put a flamethrower as an example. Gameplay designers define a damage area for the attack and then you have to create the effect on top of the debug cylinder. As the fire lingers while it’s dissipating, it will not follow the damage area completely and designers will come to complain about it. This is one example of “conflict” between two disciplines because if they are very strict, fire won’t feel like fire so you have to come up with alternatives to convince them that the player won’t notice that a tiny lingering fire won’t cause any damage.

Similar game genres where the gameplay effects are more “important” would be fighting games or rpgs, amongst others.

There are other game genres, like for example shooters (specially realistic ones), where the environment effects are equally important to the gameplay ones. Here, the VFX Artist in charge of environmental effects becomes almost an environment artist and most of the collaboration will be with this team. Examples of environmental effects are waterfalls, mist, rain, etc. The game in which I created more environmental effects was Gears of War 4, where we were working on the multiplayer maps and we had to take care a lot about the performance hit on these effects because the game had to run 1080p at 60 fps.

Realistic Effects

The more powerful the technology becomes the less limitations we have to achieve realistic visuals. Especially in cutscenes we are reaching similar quality to movies VFXs.

This is partly thanks to the amount of software we’ve had access during the last years to create amazing textures. These are just a list of examples of the tools In order to create:

And for all above: Houdini. The guys at SideFX are making an awesome work, especially in their latest release getting closer their amazing software to game development. Having the vast range of possibilities the software offers I can see Houdini becoming a standard in the game industry, at least in more realistic projects. Once they manage to ease the steep learning curve they’ll get more people using it, just exactly as happened time ago with Allegorithmic’s suite.

But all this software is mainly focused on precooked asset creation (textures, meshes, animations) that we’ll use later in our game. You get high quality realistic results but no variation whatsoever. A precooked explosion texture will show always the same look and motion. And here is where the real challenge comes, we have to achieve that quality in real time. And we are getting there, companies are improving the real time techniques and we are already seeing from real time physics and fluid simulations to complex shaders, such as the motion vectors frame interpolation by Guerrilla (Anatomy of a Nuke) or the real time raymarching implemented for the fire/smoke in Uncharted 4 (Siggraph 2015 volume shader).

Particle Effects

A good way of understanding how particle effects work in real time is to analyze how a popcorn machine works:

  1. First you have to decide how much popcorn you want. This would be our spawnrate

  2. The corn kernels represent the points where our particles will be located

  3. The pop would be the render of our actual particle. It’s up to us to decide if we want it to be a mesh (3D) or a sprite (traditionally a 2 triangles plane)

  4. After the pop, we get a popcorn flying and eventually falling. This represents the initial speed plus gravity (dynamics).

The difference between the popcorn machine and real time particle effects is that, while you cannot get enough popcorn in real life and you can even choose between butter flavoured, sweet, salty, etc. in a realtime engine you have to make a compromise. The more sophisticated the shader the less number of particles you can have on screen so you don’t harm framerate.

Production

I like to see us, VFX Artists, as some kind of magicians and I cannot help but seeing all the tricks I used to create that effect.

This effect was made as a result of an art test. The requirements of the test were:

The purpose of this test is to show your ability to create “AAA” effects.

  • Create a multilayer, magical based, attack that destroys a cube.
  • The effect must consist of: anticipation, attack and impact, followed by the deconstruction of the cube.
  • All textures must be of your own making.
  • Make use of single frame textures, and/or at most, 1 animated flipbook.

Whit those guidelines, the first thing I do is create a library of references (vídeos, still images, pinterest, etc). Some people, who are better at drawing than me, prefer to proceed with story boards, drawings or paintovers but for me it’s much quicker to gather references and assemble everything in my mind.

When I decide the overall look of the effect I identify the main element. That is, the rays. I decided I would go for the same technique I used to create the Teleport Smoke effect on Castlevania LoS2.

3ds Max

Directional rays

First, we create one spiral-like mesh that will define the trajectory from the attacker to the victim. As the effect can be seen from different angles and I prefer not to use trails or beams, the mesh will consist of three planes rotated 60 degrees each.

Without the texture/shader it seems odd but the end result will look as a three dimensional ray.

The next step is to create a spline that will define the trajectory of the ray. We’ll use this spline to apply a path deform modifier to the mesh.

Now we have the static ray. The way to make it appear and disappear is as simple as scrolling vertically the uvs of the texture via shader. The trick here is to set the texture in Unreal as Clamped. This way, when the UVs are outside the 0-1 space the mesh will be transparent. Otherwise we would see the ray repeating.

You can check the differences here between the texture set to tile:

And the texture set to clamp:

Arc rays

Ok, now we have the main element of the effect. Let’s dress this a bit more. We need some kind of anticipation from the attacker. We need to make the player aware that something is going to happen. For this purpose I decided I would use the same rays but with different trajectory. This time we’ll create a 200 degree arc and we’ll apply a path deform to the cross-section mesh.

Fracture

The next element of the sequence is the explosion of the cube. There are some ways we can approach this in 3dsmax but I made it with Rayfire plugin. I exported it as an animation to be used later in Unreal.

UNREAL

Now is the time to put it all together. I started by adding the anticipation effect. To do that I created a particle effect using the arcs we created. Making those meshes spawn randomly rotated 360 degrees and moving their UVs creates a surrounding effect on the sphere which resembles a shield. To break the stiffness of the meshes I decided to add GPU particles with a Vector Field. At first, with these two elements I didn’t see very clearly when to trigger the directional rays.

I realised I was missing something very important and and that turned out to be a status change. In order to trigger an attack I always like to give more punch to the anticipation for a short amount of time. Then I decided I would change the color of both the meshes and the GPU particles to something more harmful. I chose orange-ish because it reminded me to fire and red hues always help to express something is dangerous. Also, to give more power to the effect I added a orange light which helped to transmit the feeling of energy accumulated.

With the anticipation effect done it was time to emit that energy forward, to the enemy. I wanted the effect to be powerful so I I created a particle effect consisting of three emitters, each one of them with a copy of the directional ray rotated 60 degrees from the previous emitter. I adjusted the emitter delays and the scrolling of the UVs so not all three spawned at the same time and with the same speed but they impacted in the same frame. This subtlety is something a VFX Artist has to pursue and spend time on. Most of the viewers/players won’t notice the tiny adjustments but if you show this effect with and without any variations on delays/scrolling/sizes… they will notice the differences.

The last part is the impact. The first step in Unreal is to trigger the animation in the exact time in Blueprints. Then I created a particle effect for the destruction. The particle effect consisted of different elements: light, sparks (gpu particles and not all colliding for performance reasons), lightnings, aftermath smoke, screen distortion (which shrinks the cube for 0.1 seconds and adds extra power to the explosion). The special element in this effect was the lightnings. I created a single sprite texture with UV Distortion to animate it via shader:

Also, I added Erosion, which is a very handy shader to make the particles disappear not just with a simple fade out:

This way we have the whole sequence done. Of course after putting everything together there are some tweaks to make both in the art side or timing.

Tools

To visualize the effects the most obvious choice here would be getting started with Unreal 4. Not because I think it’s the best but because it has the biggest community and you will find tons of tutorials, examples, marketplace, etc. To get started. And from that you can search in youtube for tons of tutorials.

Then we have Unity which I haven’t had the chance to use much because most of my career has been with proprietary engine and the only time I worked with a commercial engine was either Unreal 3 or 4.

Talking about asset creation, there are some pieces of software which are very useful for us the VFX Artists. Fume FX, for example, is very good to get animated fire/explosion/smoke textures and I have to thank the developers because it was one of the first plugins I found when I started in this field and it’s pretty impressive how they managed to build a tool with which you can get very nice results in a very short amount of time.

Lately I’ve been using Blender a lot. I started just because it is free and I didn’t have to mess with licenses and stuff but now I really like it. You can get the same as Fume FX plus fluids, rigid body simulations, fracture tools, etc. I managed to get done in this software some ocean meshes for some multiplayer maps in Gears 4, blood textures for Red Dead Redemption 2, oil splashes, etc.

Blood splatter simulated and rendered in Blender

My most used software is 3d studio max mostly to create low poly meshes, UV Mapping, rigging, etc. Then we have also Adobe Photoshop to tweak some rendered images or create some textures from scratch to apply to the particles.

Animation

Most of my experience being a VFX Artist so far has been working on the gameplay side of the effects. That said, most of the time I was given an animation I had to stick to and add the extra layer of effects (blood, magic, impacts, explosions, etc). The animation I’m referring to could be an in-game animation or a bespoke one for a cutscene.

When working with animations, usually VFXs are attached to bones, helpers, objects, etc that are in the scene. This is a back and forth workflow between the animation and the VFX teams where the latter can ask for changes or additions to the sequence such as adding extra keyframes to make a sword trail smoother, rotate a helper to use this rotation as the direction for a blood splatter or change a camera cut to avoid compromising point of views for a mesh particle, for example.

Also, there are some features from the game engine that can help for the animation or the dynamics of the effects. For example, when I was working at Mercury Steam, as we were using proprietary engine and I was very close to the core technology team, I was lucky enough to be allowed to request new engine features. I benefited a lot from it as I could ask for new ways to link effects to a bone: I was able to link an effect to a bone using its position but not the rotation or taking the bone position and rotation but using always the Z (height) of the ground (very handy for fire linear attacks on Castlevania).

I remember it was especially satisfying when one of my requests was implemented without the programmer being very convinced to if what I was asking for was going to work. I asked a way of setting the initial velocity of the particles over the lifetime of the emitter. This way, using this method with a trail, I was able to get a blood spurt that never disconnected from the point of impact. This extra layer of meticulousness added the viscosity feel I was demanding and I was very proud of it. In fact, in all the projects I’ve worked on (I kind of got obsessed with blood after working on Castlevania) I always demanded that feature very useful for other things as water, oil, etc.

I remember one programmer approached me one day and asked me: “How the hell did you do that blood effect that comes from the hand of the enemy in this cutscene” I had to remind him he was involved in the implementation of the feature and it finally paid off.

Framerate 

One of the big tasks of a VFX Artist when it comes to implementation of the assets in game is the optimisation. The word we say and listen to the most is overdraw. Usually game engines render the final image in passes (albedo, roughness, metalness…) and every time there is a particle on the screen, depending on the rendering type of it, it impacts the rendering pipeline. For example, if we have 2 translucent particles on screen which are overlapping, the rendering cost of the pixels which are overlapped will be double. This is especially bad for performance when we have full screen particles, as the engine would have to render x amount of times 1920×1080 pixels (if Full HD). Here is a good thread to know more about overdraw.

Most of the time our elements are not the most complex ones: mesh particles have low triangle count, shaders are not very complex (usually), particles are lit in a much cheaper way than the characters or environments, some times particles are not lit at all, etc. Even with that in mind, particles can get very expensive at runtime due to the way they are rendered. Roughly there are 3 major ways of rendering the particles (in Unreal called Blend Modes):

Opaque: this is the cheapest, but it’s barely used unless we are talking about mesh particles. This is the cheapest method because particles overlaying others occlude them so the engine discards pixels more easily.

Alpha masked: this is also called alpha test where we have 0 or 1 transparency values. So we either have visible or invisible pixels, no semi transparency at all. This is the cheapest way of achieving transparency, at least in console games. The opaque pixels on the sprite occlude the pixels underneath just like the opaque method explained above.

Translucency: this is also called alpha blend. In this case we don’t have any occlusion whatsoever. This is the most expensive method to render a particle. On top of the performance issues it’s hard for the engines to sort the rendering of semi transparent pixels because usually they don’t store the Z Depth (opaque and alpha masked do). So this is why most likely you’ve seen popping on some games (fog, dust, windows, etc)

We also have two lighting methods:

  • Unlit: particles are not lit at all. All the lighting has to be baked in the texture or do it via shader (not totally accurate).

  • Lit: particles get similar lighting to the environment and props. This method is trivial on opaque/alpha masked particles because they store Z depth information. However, by default translucent particles don’t store that info, therefore the engine doesn’t know where these particles belong in the world. Enabling lit shading method on translucent particles adds an extra layer of complexity to the render of every particle.

Adding lit shading method to translucent particles allows semitransparent particles to store Z depth info. This is expensive per se, but nowadays graphic cards can handle it if used carefully.

Best practices:

  • Use the texture space wisely. When possible, avoid too much transparent pixels in the texture trying to get the opaque pixels as close as possible to the borders.

  • Use alpha masked when possible.

  • If the engine supports it, use clipping or hexagonal shapes when possible.

  • Use spawnrate with caution and make a compromise.

  • VFX Optimization guide

Example:

When we were working on Gears of War 4 multiplayer maps we had to be specially careful with the performance impact of our work. Our goal was to get 1080p at 60 fps so we had to be clever to achieve the quality it was expected but always getting smooth gameplay.

There was a level with a grass field and after the profiling phase, the technical art team pointed the grass to be the most expensive element on the map. So after some discussions between environment art, technical art and vfx art departments we decided to try one technique. I was in charge of, somehow, make the grass sprites so that the further they were from the camera the less transparent pixels they had. I created a diffuse texture covered with grass blades but the opacity was done in a way I had groups of blades with different grey values. This way, the shader increases the value of that grey the further the camera was so that the blades where visible. As the shader was set to alpha masked those blades only were visible when the alpha reached 1. This way we saved tons of overdraw in the long distance.

Another example of optimisation and tricking the player is deleting the particles when they get close to the camera. Actually particles don’t get deleted but they shrink so that they are invisible. We did this on Gears 4 too with smoke particles, lightshafts, etc. In the shader we did that the particles became gradually transparent when they were at X distance from the camera (set in the shader) and when they were totally transparent we shrank the vertices. This last step was done because Unreal wasn’t clever enough to not render a particle which was totally transparent so we were getting overdraw issues.

Advice

I don’t know any VFX Artist who doesn’t know about imbueFX. Don’t worry about the content being too “old” it’s still invaluable what these guys helped us all with these videos.

There are also some breakdowns around there than can be easily followed by anyone interested in the field and has a basic knowledge about some 3D Packages. Also, the official Unreal Engine 4 website is a good spot to learn:

Unreal 4 Particles Systems

Some years ago I was invited to a Facebook group called Real Time VFX. I never imagined I would get so many knowledge from this platform. Recently some guys decided to create an own domain for it and, although we still share our knowledge in Facebook, we have a more structured content now.

Real TIme VFX

In there you’ll find the best VFXs artists in the industry, people from Naughty Dog, Epic, Infinity Ward, etc. all of them showing their tips and tricks and always open to help.

Francisco Garcia-Obledo Ordoñez, Senior VFX Artist at King

Interview conducted by Kirill Tokarev. 

Follow 80 avg free x86 all 2012

lv on Facebook, Twitter and Instagram

Los representantes de los trabajadores en la empresa .

Los trabajadores tienen el derecho a tener unos representantes ante la empresa, para recibir información, negociar y en algunas ocasiones ser consultados antes de tomar decisiones.

Veamos quienes son los representantes, sus funciones y como están protegidos.

 

¿Qué son los representantes de los trabajadores

 
Los trabajadores tienen el derecho reconocido de estar representados en la empresa. De esta forma, aunque no sean propietarios ni accionistas pueden ser escuchados, tener información sobre cómo va la empresa, y ser tenidos en cuenta cuando la empresa vaya a tomar decisiones que afecten a los trabajadores.

Esta representación es un derecho que la empresa no puede suprimir. Cualquier acción empresarial en contra de este derecho puede ser nula y suponer una sanción para el empresario.
 

¿Qué tipos de representantes de los trabajadores hay

 
Existen básicamente dos tipos de representantes: los Delegados de personal y los Comités de empresa. Estos son las formas en la que los trabajadores son representados ante la empresa, y a veces se les llama la representación unitaria de los trabajadores. Estos delegados y miembros del comité de empresa tienen las mismas funciones y garantías. Luego también pueden existir otros figuras, como los delegados de prevención de riesgos laborales, o los delegados sindicales.

Cuando la empresa tiene entre 10 y 49 trabajadores, tendrá como representantes a los delegados de personal. Si la empresa tiene entre 6 y 10 trabajadores, estos podrán elegir por mayoría tener un delegado si quieren. Si la empresa tiene menos de 30 trabajadores, tendrá 1 delegado, si tienen más tendrá 3.

Cuando la empresa tiene más trabajadores, los representantes forman un comité de empresa. Este comité normalmente representa a todos los trabajadores de la empresa o del centro de trabajo, si la empresa tiene varios. Pero hay reglas especiales cuando hay muchos centros de trabajo pequeños pero cercanos. Igualmente el Convenio Colectivo puede prever un comité intercentros.

El número de miembros del Comité de empresa dependerá del número de trabajadores, estando entre 5 miembros hasta 75.  

50-100 trabajadores5 miembros
101-2015 trabajadores9 miembros
251-500 trabajadores13 miembros
501-750 trabajadores17 miembros
751-1000 trabajadores21 miembros
1.0002 miembros más por cada 1.000 trabajadores, máximo 75

 
Entre los miembros del comité se elegirán un presidente y un secretario, y el comité se tendrá que reunir cada dos meses, cuando lo pida 1/3 de los miembros o cuando lo pida 1/3 de los trabajadores.

Diferencia entre delegados de personal y delegados sindicales

No es lo mismo un delegado de personal que un delegado sindical. El delegado de personal es elegido por todos los trabajadores y representa a todos los trabajadores de la empresa. Mientras que los delegados sindicales son trabajadores que representan al sindicato al que pertenecen y sirven para representar y asesorar a los trabajadores afiliados a dicho sindicato, aunque pueden atender a trabajadores no afiliados si quieren

Muchas veces los delegados de personal o los miembros de los comités de empresa, son además miembros de un sindicato y delegados sindicales. Los delegados sindicales tienen también funciones y protecciones como los delegados de personal, pero de menor forma. 

¿Cómo se eligen los representantes de los trabajadores

 
Los representantes se eligen a través de unas elecciones en la que votan los trabajadores personalmente, con voto secreto. Estas elecciones las pueden promover los anteriores representantes de los trabajadores, los sindicatos más representativos o los propios trabajadores por mayoría.

En estas elecciones pueden votar todos los trabajadores que sean mayores de 16 años y que tengan al menos un mes de antigüedad ( info)   en la empresa. Y pueden ser elegidos los trabajadores mayores de 18 años con una antigüedad de al menos 6 meses, salvo que el Convenio Colectivo indique una antigüedad inferior. Da igual si los trabajadores son españoles o extranjeros o si están afiliados o no a un sindicato. Y los trabajadores serán elegidos por 4 años.

Para ver como se desarrollan las elecciones, consultar los artículos 67 y siguientes del Estatuto de los Trabajadores.


 

¿Para qué sirven ¿Es útil tener representantes

 
Es muy útil tener representantes de los trabajadores. Son el interlocutor entre la empresa y el trabajador, y tienen mucha más información sobre la empresa que el trabajador individual.

El trabajador puede acudir a sus representantes a mostrar su situación, para que los representantes hagan una queja por él, pedir información sobre sus derechos, sobre el contenido del Convenio Colectivo, sobre como reclamar algún derecho…

En mi empresa no hay representantes: ¿cómo tenemos unos

Habrá que hacer unas elecciones. Los trabajadores de la empresa o del centro de trabajo  pueden elegir hacer unas elecciones llegando a un acuerdo por mayoría. O si hay representantes de los sindicatos, si son mayoritarios, también pueden promoverlas los sindicatos. Si nunca se han hecho, es conveniente tener asesoramiento de un abogado o asesor laboralista o de los sindicatos.

Queremos cambiar a nuestros representantes, ¿se puede hacer

Puede darse el caso que los trabajadores no estén contentos con sus representantes, y quieran revocarlos. Pueden hacerlo en una asamblea específica para esta revocación, convocada por 1/3 de los trabajadores, y que por decisión de la mayoría absoluta de los trabajadores reunidos.

Aunque no se podrá cambiar de representantes mientras se esté negociando  un Convenio Colectivo o lleven menos de 6 meses elegidos.

Representantes de los trabajadores para momentos concretos

Hay casos en los que se necesita que haya representantes de los trabajadores para un momento concreto, y en el caso de no haberlos se tiene que elegir una comisión de trabajadores para negociar con la empresa. Estas situación se dan cuando la empresa quiere hacer una movilidad geográfica colectiva, una modificación sustancial de las condiciones de trabajo colectiva , o Expedientes de Regulación de Empleo. En este caso son elegidos de la forma indicada en el artículo 41 del Estatuto de los Trabajadores

¿Cuáles son las funciones de los representantes de los trabajadores

 
Los representantes de los trabajadores tienen muchas funciones, entre las que recibir información de la empresa, negociar con  la empresa, emitir informes… Las más importantes son:

  • Negociar el Convenio Colectivo ( info)  cuando sea de ámbito empresarial.
  • Ser informados y consultado sobre todas las cuestiones que puedan afectar a los trabajadores, sobre la situación de la empresa y la evolución de la misma. Tienen derecho a recibir la información, expresar su opinión y a redactar los informes oportunos.
  • Recibir cada 3 meses información por parte de la empresa sobre la situación exacta de la empresa, las previsiones (de situación, de contratación, de horas complementarias ) y sobre los accidentes de trabajo y el absentismo
  • Recibir cada año los balances, cuentas y memoria económica, con la misma información que reciben los socios.
  • Ser informados de las sanciones graves a los trabajadores.
  • Recibir copia de los contratos firmados y de las prórrogas de los contratos temporales.
  • Ser tenidos en cuenta sobre todo en casos de: restructuraciones de la plantilla, despidos, reducciones de jornada, movilidades geográficas, fusión de la empresa, cambio del tipo de empresa, planes de formación, implantar sistemas de control del trabajo o los trabajadores, medidas de conciliación de la vida familiar y laboral…
  • Vigilar que la empresa cumple la normativa, incluida en la igualdad entre trabajadores y trabajadoras.
  • Estar presentes cuando se realizan registros a trabajadores.
  • En el caso de que no haya representantes de prevención de riesgos laborales, pueden al empresario que tome las medidas oportunas, pedir informes técnicos, y en casos extremos parar la actividad en caso de peligro inminente.
  • Llegar a acuerdos en materia de clasificación y promoción profesional.
  • Pactar cuando se recibe la paga extra de verano si no viene indicado en el Convenio Colectivo.
  • Pactar la distribución irregular de la jornada laboral y la compensación de los descansos
  • Negociar en los periodos de consultas en caso de movilidad geográfica colectiva, modificaciones sustanciales de las condiciones de trabajo coletivas, en algunos casos de cesiones de trabajadores, ERTEs y despidos colectivos.
  • Recibir información sobre contratas y subcontratas.
  • Recibir información y llegar a algunos acuerdos en casos de subrogaciones.
  • Estar presente en la firma del finiquito si un trabajador lo pide.

Además están capacitados para demandar judicialmente colectivamente a la empresa en algunos casos como los ERTEs, EREs, modificaciones sustanciales o movilidades geográficas colectivas, y denunciar ante la Inspección de Trabajo las irregularidades que realice la empresa.

Para poder desempeñar todas estas funciones, los representantes de los trabajadores tienen por ley una serie de medidas de protección. 


 

Deberes de los representantes hacia la empresa

 Los representantes de los trabajadores tienen sus deberes hacía los trabajadores, a los que representan, pero tienen también un deber de sigilo y confidencialidad respecto de la información de la empresa que obtienen, aunque este deber no impide que se pueda utilizar esa información para demandar o denunciar a la empresa en caso de que incumpla la ley. 

Más información y referencias legales

  • Estatuto de los Trabajadores (Título II, artículo 61 y siguientes)
  • La sindicación de los trabajadores ( web Ministerio de Empleo)
  • Enlaces a los principales sindicatos (web del Ministerio de Empleo)
  •  
    Otros artículos relacionados:

  • Protección legal de los representantes de los trabajadores
  • El periodo de consultas: cuando la empresa tiene que negociar con sus trabajadores
  •  

    Un artículo de la redacción de Loentiendo.com

    Abogados, Graduados Sociales y redactores especialistas en derecho laboral.

    Comunicar un error en la información

    Loentiendo es un portal de colaboradores independientes. No se comparten necesariamente las opiniones de los autores de cada artículo. Toda la información tiene un carácter meramente orientativo. Confírmela siempre en los Boletines Oficiales (legislación española), Servicios de información de las Administraciones Públicas o con su asesor legal Windows XP Professional SP3 (x64)


    View [] www3.famille.ne.jp/~kadomura/ ,View and Download SAMSUNG RF268AB user manual online. RF268AB Refrigerator pdf manual download.,Uzone.unitedshore.com is not yet effective in its SEO tactics: it has Google PR 0. It may also be penalized or lacking valuable inbound links.

    View Syntonics provides advanced RF-over-Fiber systems and innovative RF technologies for military, civil, and industrial markets.,Let's say I've got: Dim los1 as New List(Of String) los1.Add("Some value") Dim los2 as New List(Of String) los2.Add("More values") What would be the most efficient .,Download Castlevania: Lords of Shadow 2 [Online Game Code] and play today. Awoken after centuries of slumber, weakened and yearning for release from his immortal .

    View Hola gente que siempre esta! Este post salio corto por mi culpa (Nico) porque ella pidio hacer el post, me calente y en el momento que me pidio que le haga la .,Crystal Tankards - fine quality crystal glass tankards ideal for engraved as corporate gifts or achievement awards. Offered with low-cost engraving of text and logos.,Cuando hace un par de anos vimos esta receta a los chicos de Webos Fritos, no dudamos en guardarla a buen recaudo hasta que llegara la temporada de esparragos .

    Related articles

    Sony Vegas Pro 13 Crack Serial Key Free Download Sony Vegas Pro 11 Cracked Free Download7 Comments to DFX Audio Enhancer 11.113 full cracked patch free download,Sony Vegas Pro 13 Crack Serial Key Free Download. Sony Vegas Pro 13 Crack is a video modifying suite geared toward professionals needing to supply prime quality HD .,MAGIX Sound Forge Pro 11 Crack Keygen Free Download. MAGIX Sound Forge Pro 11 Crack is central town WIS tool that is used Video editing. It produced on May 20, 2016 .

    Installing 32bit AutoCAD 2012 on Windows 7 Windows 8 and . Autocad 2012 x86 32bitРезультаты поиска,Steel Graphics.TecnoMETAL.BIM.Suite.2015.for.AutoCAD.2014-2015.Win64,AutoCad 2017 Full Vi nhng gi ma AutoCAD mang dn cho nhng chuyen gia, k su, sinh vien nganh k thut mt th mnh v thit k .

    Internet Download Manager - increase your download speeds Internet Download Manager v6.14Internet Download Manager Free Trials - increase your download speeds,Adobe Photoshop Lightroom CC v6.14.0 Full Indir. Adobe Photoshop Lightroom Full Indir Adobe Photoshop Lightroom profesyonel fotografclarn ice aktarma, secme .,Internet Download Manager Idm Full indir,lisansl serial key gerekmez Tam surum Crackl full yapma gerekmez idman idm ad ile bilinem,en iyi […]

    << Go back to the previous page