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3DS to Have 3D and 2D Mario Games

Miyamoto discusses possibilities for Mario sequels on 3DS.

Nintendo has been releasing two general lines of Mario games over the past generation: 3D games along the lines of Super Mario Galaxy and 2D games along the lines of New Super Mario Bros. The latter type sells far better.

So what do these sales trends mean for a 3DS version of Mario? During a Q&A session at Nintendo’s earnings briefing last week, investors asked Shigeru Miyamoto to comment on just that.

Miyamoto first explained the general merits and demerits of 3D (the current polygon-based 3D). 3D visuals give players a greater sense of being part of the action and gives more freedom and choice, said Miyamoto. At the same time, some are turned off from 3D games because they appear too complex.

“When Super Mario became Mario 64, the range of players narrowed greatly,” Miyamoto admitted. While he feels that Nintendo’s developers were able to make use of the strong points of 3D to deliver new game experiences, they were also advancing work on games that, while 3D, can be played by everyone. This resulted in Super Mario Galaxy. Even this doesn’t solve the dilemmas, though, so they also made the New Super Mario Bros. series.

Turning to 3DS, Miyamoto said, “When asked ‘what will we do on 3DS,’ the answer is, of course, we’ll make both. They both have their own appeal.”

He outlined how the 3DS’s 3D display effects could help both types of Mario.

For the 3D type of Mario game — and this includes Zelda, he said — it can be difficult to perceive depth, for example if you multiple floors stacked up on top of one another. However, if you have a similar situation on the 3DS with the 3D effect turned on, you can more clearly see what’s closer to you.

The 3DS’s 3D effect also “gives a great feeling of existence to Mario, Link and others,” said Miyamoto. He feels that this is important for his games, as they’re made with character “weight” in mind — that is, making the player feel like the character has weight in its movement.

For 2D Mario games, Miyamoto pointed out that we already see depth-based effects in many of the games. For example, a Wiggler (Hana-chan in Japanese) or Bullet Bill (Killer in Japanese) will fly at the the screen from afar. “It’s difficult to tell when they will hit the player, so we were only able to use these lightly. However, we’ll be able to use this type of thing quite a bit on the 3DS.”

Following Miyamoto’s response, Nintendo CEO Satoru Iwata said, “You went more in-depth than I’d been expected. This is the first I’ve heard of this.” Miyamoto joked, “No good? Don’t tell any game magazine people.”

By Anoop Gantayat

source: http://www.andriasang.com/e/blog/2010/11/02/3ds_mario_games/

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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