Whether it's unrealengine5 5 or Unity, are game engines taking over 3dart 3Dart?
The latest shift has seen a move away from these applications and towards game engines. Unity, Unreal Engine and CryEngine have been around for a long while but have largely occupied the games market alone. Unreal Engine, for example, was birthed out of the first game that was developed with it, Unreal in 1998. A couple of years prior to that, Quake Engine released its debut game, Quake. These were exciting days of development and advance, but it didn’t touch other industries.
Previously, these industries needed specific, independent tools to support their needs, but it is now possible for artists and filmmakers to achieve the same results, and more, with game engines at the heart of the process. This vision is becoming an increasing reality with it now possible to create both a game and film of the same title using a single engine to produce the two.
The achievements of these big names may seem insurmountable for your average 3D artist, with their million dollar budgets and some of the top technical and creative talent in the world at their disposal. But rather than discourage creatives, these achievements should give us an insight into some of the possibilities. As artists, we just need to work out how to apply these new techniques into our contexts to achieve our goals.
Aside from film, the architectural visualisation industry has seen increasing numbers of studios and individuals making use of game engines to visualise their projects. Offline rendering of projects has increasingly been replaced by real-time rendering solutions. We’re now seeing artists take that to a whole new level with projects being fully visualised in a real-time gaming environment.
Artists who work in film, product design and architectural visualisation will find game engines such as Unity and Unreal Engine more fine-tuned than ever. This is clear in Unreal Engine 5 where artists can import from a huge range of DCCs including 3ds Max, Rhino and Cinema 4D. That’s not the end of the journey though. Using UE’s Datasmith, artists are given a live link so that any change made in the DCC application is automatically replicated in UE.
Artists who render offline with traditional software and good hardware have little reason to keep their scenes optimised. This couldn’t be further from the case for real-time game engines. Assets must be created with the end use in mind, something that is much easier to do if you know the exact tools you’ll be using in a particular workflow.
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