When taking a historical look at the Games Industry one of the most important sources of information are the Conferences that were held to share information before the mainstream internet.
This page will talk about the main Game-related conferences that took place over the period of time that we classify as “Retro”, they roughly fit into two distinct categories:
This table below lists all the conferences that we are aware about taking place up until 2007:
Conference | Dates | Category | Notes |
---|---|---|---|
32XPOSED | November 10th 1994 | Development | SEGA 32X Developer’s Conference |
3DO Developer Conference | 1992-1994 | Development | |
Gamer Developers Conference (GDC) | 1988-Ongoing | Development | |
CES | 1967-Ongoing | Showcase | |
Develop | 2006-Ongoing | Development | UK Game development Conference |
D.I.C.E. Summit | 2002-Ongoing | Development | Stands for: “Design, Innovate, Communicate, Entertain”, mainly game design and business topics, not programming or 3D content creation |
Dreamcast Developer’s Conference | 1999 | Development | Dreamcast Developer’s Conference - Sega Retro |
Saturn Developer’s Conference | May 1994 | Development | DTS: The SEGA Developer’s ‘Game Mag’ – SHIRO Media Group |
Sega DevCon | 1995-1996 | Development | First one in March 14-17 1995 |
E3 | 1995-Ongoing | Showcase | |
Digital World Conference | 1990-1995? | Development | |
Intertainment | 1988-1993? | Showcase | ACE Issue 40 covers the November 1990 Intertainment Conference |
xFest | Aug 21st-23rd 2000 | Development | Microsoft Xbox Developer Conference |
Quakecon | 1996-Ongoing | Development | ID Software |
Unite | 2007-Ongoing | Development | Unity Technologies |
In the sections below we will try to list any audio or video recordings we can find for the sessions, but bare in mind many of the early sessions will now be regarded as lost media.
GDC stands for the “Game Developers Conference”, which is an annual event held for professionals in the video game industry. GDC serves as a hub for game developers, publishers, artists, programmers, designers, and other industry experts to come together to discuss, share, and learn about the latest trends, technologies, and practices in game development. The event includes a wide range of sessions, panels, workshops, and networking opportunities.
We have so much content on the GDC that we had to split this section out into its own post you can find it below:
Game Developers Conference (GDC) - Full list of historical sessions
For more information about the Game Developers Conference check out this post.
SIGGRAPH stands for “Special Interest Group on Computer Graphics and Interactive Techniques.” It is an annual conference and organization that focuses on computer graphics, interactive technology, and various related fields. SIGGRAPH is highly regarded in the computer graphics and interactive technology industry and is known for its conferences and publications.
SIGGRAPH is an interdisciplinary platform that covers a wide range of topics, including computer graphics, visual effects, gaming, virtual reality, computer-aided design, art, and more.
The conference features technical paper presentations where researchers and experts share their latest findings and innovations in the field. SIGGRAPH publishes research papers, proceedings, and a variety of resources that contribute to the advancement of computer graphics and interactive techniques.
The SIGGRAPH conference has a long history, dating back to the 1970s, and it continues to be a vital forum for sharing knowledge, showcasing innovations, and connecting professionals in the field of computer graphics and interactive technology.
They are not always related to game development but many real time rendering techniques used in modern games were first presented at SIGGRAPH.
The website Gamasutra (now Game Developer) posted an article about the 2000 version of the conference from a game developer perspective, you can read it online here: Siggraph 2000 From a Game Development Perspective.
It discusses the new hardware and software for game development shown off at SIGGRAPH 2000 such as Sony’s GScube and the Xbox. Improv Technologies also demoed their new products, Orchestrate3D and Catalyst. The conference also featured presentations on new shading languages and rendering techniques.
D.I.C.E stands for “Design, Innovate, Communicate, Entertain” and was first held from February 28th to March 1st, 2002 in the Hard Rock Hotel Las Vegas 1. The main focus is game design topics along with business rather than game programming or asset creation.
It is part of the Academy of Interactive Arts and Sciences and they record the presentations which they would sell footage on DVD, but the modern conferences host the videos online for free.
The first ever D.I.C.E Summit was held from February 28th to March 1st, 2002 in the Hard Rock Hotel Las Vegas 1.
The presentations that took place are listed in the table below:
Name | Presenter | Notes |
---|---|---|
“Laughing Matters” | Lorne Lanning - President & Creative Director, Oddworld Inhabitants | |
“Planning, Scheduling and Other Bad Habits of Game Development” | Mark Cerny - President, Cerny Games | |
“The Games People Play…For Money” | Joe Kaminkow - Vice President, Engineering and Design, IGT | |
“Differentiate and Innovate, Don’t Imitate” | Bruce Shelley - Senior Designer, Ensemble Games | |
“The DINO Project: Three Glorious Failures” | Sid Meier - Chairman and Director of Creative Development, Firaxis Games | |
“Attack of the Killer Sequels” | Richard Garriott - CCO & Executive Producer, Destination Games | |
“Designing for the Mass Market” | Jason Rubin - President & Co-Founder, Naughty Dog | |
“Invoking Emotions through Gameplay - The Present and the Future” | David Freeman - Writer/Producer | |
“Audience Developed Products - How to Involve the World” | Will Wright - Chief Designer, Maxis | |
“Can Music Make or Break Your Game?” | Michael Giacchino - Edgewater Park Music | |
“Games for the Rest of the World” (Roundtable) | Bruno Bonnell, CEO, Infogrames; Larry Probst, CEO, Electronic Arts; and Brian Farrell, CEO, THQ | |
“Is Corporate Creativity an Oxymoron?” (Roundtable) | Cliff Bleszinski, Chief Designer, Epic Games; Louis Castle, General Manager, Westwood Studios; and American McGee, Chief Creative Officer, Carbon6 Entertainment |
The 2002 D.I.C.E. Summit DVD set was available for $250 to Academy members and $450 to non-members. The DVD was produced by Ziff Davis Media (who publish the GMR magazine).
Here is an Advert for the DICE Summit DVD from issue 1 of the US magazine GMR from February 2003, it has 4 DVDs which has 9 hours of presentations:
The Develop conference, which is held in Brighton, UK, had its inaugural event in 2006. The conference focuses on the video game development industry and covers various aspects of game development, including programming, design, audio, and business. Since its inception, the Develop conference has become an annual event, providing a platform for professionals in the gaming industry to exchange ideas, share knowledge, and network.
The first ever Develop conference was split into the following tracks:
The sessions from Develop 2006 that we know about are listed in the table below:
Title | Presenter | Track | Notes |
---|---|---|---|
Advance Programming Techniques on PlayStation Portable | Igor Makaruks, Sony Computer Entertainment Europe | Coding | |
Animating Emotion | Ken Perlin | Coding | |
Connected mobile gaming on Java | Matt Levy, SNAP Mobile & Markus Huttunen, SNAP Mobile Manager | Coding | |
Developing with PSSG, a PlayStation 3 optimised cross platform engine | Richard Forster, Sony Computer Entertainment Europe | Coding | |
DirectX 10 for Techies | Nick Thibieroz, ATI | Coding | |
Lost in translation: The coder’s guide to team communication | Jonathan Shaw & Tak Fung, Lionhead Studios | Coding | |
New Techniques for Lighting: From Theory to Practical Implementation | Chris Doran, Geomerics | Coding | |
Next Generation Games with Direct3D10 | Miguel Sainz, Nvidia | Coding | |
Optimize Your GPU with the Latest NVIDIA Performance Tools | Raúl Aguaviva, NVIDIA Developer Tools Engineer | Coding | |
PlayStation 3: A Parallel Universe | István Fábián, Sony Computer Entertainment Europe | Coding | |
Profiling and Debugging Your Game with PIX on Xbox 360 | Bruce Dawson, Microsoft Game Technology Group | Coding | |
Pros and Cons of Developing Your Own Middleware | Andrew Oliver, Blitz Games | Coding | |
Shaders: The Sky is the Limit | Sébastien Dominé, NVIDIA & Richard Stenson, Sony Computer Entertainment America | Coding | |
Software engineering: Games programming for large scale projects | Jeremy Chatelaine, Electronic Arts | Coding | |
Xbox Live: Now and in the Future | Jeff Sullivan, Microsoft Game Technology Group | Coding | |
ARG: immersive gaming for the mass market | Adam Martin, MindCandy | Game Design | |
Design by democracy: How to keep your vision - while taking on board everyone else’s | Peter Molyneux, Lionhead Studios | Game Design | |
Design DNA: 10 new game designs ideas from the past 12 months worth stealing | Margaret Robertson, Edge magazine | Game Design | |
Designing new kinds of games for the masses | David Amor, Paulina Bozek, Rob Kay, Michael French | Game Design | |
Everything you know is wrong: four new developments that will turn the MMOG world upside down | Janus Anderson & Thomas Bidaux | Game Design | |
Games design room 101: Four designers each consign a game design horror to the dustbin | Mike Goldsmit, Jonathan Smith, Simon Byron, Barringon Harvey, Peter Molyneux | Game Design | |
Hacking Through the Jungle: Interactive Storytelling Made Easy and Profitable | Ernest Adams | Game Design | |
How to win battles and influence publishers | Chris Deering & Jamie Macdonald | Business | |
Genre: dirty word or developer’s friend? | Clive Fencott & Jo Clay, Strange Agency | Business | |
Global Directions: A Holistic View of Game Development | Jason Della Rocca, IGDA | Business | |
I’m with the brand: Developers as the stars | Alison Beasley, Miles Jacobson, Chris Lee, Mark Ward | Business | |
Leveling the Playing Field | William Latham, Games Audit | Business | |
Money for Non-Suits | Jonathan Smith, TT Games Publishing & Nicholas Lovell, GameShadow | Business | |
The Next Generation of Mobile Gaming | Kay Gruenwoldt, Nokia Multimedia | Business | |
Sega - UK’s new Games Powerhouse | Mike Simpson, The Creative Assembly, Guy Wilday, Racing Studio, Miles Jacobson, Sports Interactive | Business | |
Towards an industry standard publishing agreement: the TIGA Model Contract | Vincent Scheurer | Business | |
Which Ferrari should I drive to work today? | Andrew Eades, Relentless Software | Business | |
Why good online games go bad | Frank Puranik, Director, Itheon Networks | Business | |
Audio Programming, Tools & Techniques For NexGen AAA Games | John Broomhall, Andy Mucho, Nick Wiswell, Nick Laviers | Audio | |
Black: A Case Study | Steve Root, Electronic Arts UK | Audio | |
Buy now, pay later! | Dave Ranyard, Sony Computer Entertainment Europe, Sergio Pimentel, Sony Computer Entertainment Europe | Audio | |
The Future of Audio in Interactive Entertainment: A Personal Vision | Marty O’Donnell | Audio | |
PS3 Audio: Meet The Team | Jason Page, Oliver Hume, Nik Kennedy, Paul Scargill, Sony Computer Entertainment Europe | Audio | |
Recreating Reality | Kenny Young, Sony Computer Entertainment Europe | Audio | |
Talking Sense: Raising The Bar For Speech In Games | Nick Laviers, Electronic Arts UK | Audio | |
Creativity led production: How to bring new ideas into line | Tetsuya Mizuguchi, Q Entertainment | Next Wave | |
Lights, Camera… Where Movies and Videogames Meet | Rob Fahey, GamesIndustry.biz & Andrew McDonald, DNA Films | Next Wave | |
The Opinion Jam: Twelve speakers. Three minutes each. One winner. | Ste Curran, Rob Kay, Ernest Adams, Ken Perlin, Dan Bardino | Next Wave | |
Buy now, pay later! | Dave Ranyard, Sony Computer Entertainment Europe, Sergio Pimentel, Sony Computer Entertainment Europe | Production | |
Gotham Racing 3: A Post Mortem on developing a XBOX 360 launch title | Gareth Wilson, Bizarre Creations | Production | |
Working with Hollywood: The Storytelling Professionals Mark Green & Katie Ellwood, Sony Computer Entertainment Europe | Production | ||
Animating characters within Maya & showcasing the real-time workflow within MotionBuilder along with FBX | Nick Jovic, Autodesk | Art | |
Bridging the Uncanny Valley: Style versus Realism in future games | Cumron Ashtiani, Steve Boxer, Susie Green Ben Lee | Art | |
Masterclass: Character Animation | Nick Jovic & Kevin Booth, Autodesk | Art | |
Motion synthesis and unique game moments | Torsten Reil, NaturalMotion | Art | |
Showcasing the interoperability between 3ds Max, Maya and MotionBuilder | Kevin Booth, Autodesk | Art |
CES stands for the “Consumer Electronics Show”. It is an annual trade show and convention that serves as a showcase for the latest consumer electronics and technology products. CES is one of the most significant and influential tech events globally, and it’s where many companies, including industry giants and startups, unveil and demonstrate their innovative products and technologies.
CES is known for its extensive exhibition of consumer electronics and technology products, ranging from smartphones and televisions to smart home devices, automotive technology, gaming hardware, and more.
CES attracts a large number of journalists, bloggers, and media outlets from around the world, generating extensive press coverage and reviews of the showcased products.
CES has played a crucial role in unveiling groundbreaking technologies and products that have subsequently shaped the consumer electronics and technology industries. It is a significant annual event for both industry professionals and tech enthusiasts interested in the latest advancements in the world of electronics and innovation.
The first Consumer Electronics Show (CES) took place in 1967. CES was initially held in New York City and later moved to Las Vegas, Nevada. Although it features gaming products they have always brushed the games industry aside in favour of more mainstream consumer electronics.
E3, which stands for the “Electronic Entertainment Expo,” was one of the most prominent and anticipated events in the video game industry. It served as a showcase for the latest video games, gaming hardware, and interactive entertainment. E3 brought together game developers, publishers, hardware manufacturers, and gamers to unveil and celebrate upcoming titles and innovations in the world of gaming.
The last E3 took place in 2021. After cancellations of the E3 in 2022 and 2023, the discontinuation was announced.
SEGA was instrumental to setting up E3, in an interview with Tom Kalinske (former CEO of SEGA America) he had this to say about the formation of E3:
In the early Nineties, CES was huge but it treated the gaming industry poorly. We were put in the back, past the new gadgets, computers and stereos and TVs. One year, we were in a tent and it was raining. Out Genesis machines got wet and I said, “That’s it, we’re not coming Back”. We set out to form our own show with favoured third-parties. It became E3. 2
E3 1995 marked the first E3 event, created as an alternative to the Consumer Electronics Show (CES) where the gaming industry was often overlooked.
At E3 1995, the gaming industry was undergoing significant changes, with the Super Nintendo still the most popular console in North America but with new hardware on the horizon, such as Sega Saturn, Sony PlayStation, and the yet-to-be-released Ultra 64 (later Nintendo 64). This event was mainly focused on the Sega-Sony rivalry, with Nintendo’s console release delayed until the following year.
E3 1995 consisted of exhibits and presentations, but unlike modern E3 events, there were no livestreams, special guest stars, or musical performances. The target audience was gaming industry professionals, retailers, developers, marketing teams, investors, and journalists, rather than gamers. As a result, these early E3 conferences were more subdued and focused on industry announcements rather than generating excitement among gamers.
QuakeCon is an annual convention and gaming event that primarily focuses on the Quake series of video games, as well as other titles developed by id Software, the company behind Quake. The event has been held since 1996 and is known for its emphasis on competitive gaming, LAN parties, and the celebration of the gaming community.
QuakeCon typically features a variety of activities, including tournaments, panel discussions, exhibitor booths, and opportunities for fans to meet and interact with game developers. It has become a significant event in the gaming calendar, attracting thousands of attendees from around the world.
While QuakeCon started with a primary focus on the Quake series, it has expanded over the years to include other games, including those from Bethesda Softworks, which acquired id Software. The convention has also been a platform for showcasing new game releases, updates, and announcements, making it an exciting gathering for both fans and industry professionals.
John Carmack gave the Keynote speech at Quakecon 2004 where he reflects on Doom 3 Engine Decisions, you can watch it on youtube below:
The key points from Keynote are as are as follows:
Overall, he outlines the evolution of the Doom 3 graphics engine, addressing past limitations and describing efforts to improve realism, lighting, and overall graphical quality in the context of current and future hardware capabilities.
The US magazine 3D Design played an active role in the 3D graphics community during the 1990s. Miller Freeman leveraged the magazine’s brand to host the annual 3D Design Conference & Exhibition in San Francisco (starting in 1996). By 1997–98, this event offered “the most targeted technical education available for advanced graphics professionals” and included four days of intensive classes on animation, modeling, lighting, and more
The conference featured top instructors and an expo of 3D hardware/software vendors, and it culminated with the “Big Kahuna Awards” honoring excellence in 3D design. It is unclear if they also hosted one in 2001.
The table below lists all presentations from the 3D Design Conference (June 3–5, 1997) with their title, presenter, a summary of content, and the experience level, thanks to the wayback machine for archiving the old website (3dshow.com):
Presentation Name | Author | Description | Level |
---|---|---|---|
Advanced Animation in Extreme 3D | Gerard Chateauvieux | Techniques to streamline the animation process in Extreme 3D, covering vertex animation, animation cycles, spline-based motion paths, and use of the score for time-based animation. Prerequisites: Basic understanding of 3D concepts and animation. | Intermediate to advanced |
Optimizing Palettes for the Web, CD-ROMs, and Video | Sherri Sheridan | Delves into optimizing 8-bit color palettes for professional-looking websites, multimedia CD-ROMs, and video. Demonstrations include Photoshop and Netscape for web graphics, Shockwave optimization, Director and Debabilizer for CD-ROM, and After Effects/Movie Cleaner for QuickTime. Also covers NTSC video output issues with examples of good vs. bad palette techniques. No prerequisites. | Intermediate |
Introduction to Rhino | Scot Tumlin | Functional overview of Rhino, a new NURBS-based 3D modeler (one of the first inexpensive tools for creating NURBS geometry). Unlike polygon modelers, Rhino’s models are NURBS for easy manipulation of organic shapes. Introduces Rhino’s interface and powerful modeling tools. Prerequisites: Some experience with 3D modeling applications. | All levels |
Getting the Job You Want in Digital Animation (Part 1) | Peter Plantec | First of a two-part course on preparing a portfolio for the digital realm. Discusses what to include (demo reel, resume, stills) and common mistakes. Tips on distinguishing bad vs. good vs. great demo reels, with critiques of actual demo tapes by the instructor and studio recruiters. Superb for newcomers to learn the ropes quickly and make connections. No prerequisites. | All levels |
Enhancing 3D Animation with After Effects | Nathan Vogel | Explores numerous ways to use Adobe After Effects to enhance 3D animations through compositing. Covers adding effects like fog, starfields; multiframe textures; displacement mapping; color correction; rendering 3D in layers for special compositing; and effects like explosions, flares, smoke, dust. Demonstrates third-party plug-ins (DigiEffects suite, MetaTools, Knoll Lens Flare). No prerequisites. | Intermediate to advanced |
Character Drawing | Brian Wade | Covers essentials of character drawing: character requirements, development, expression. Includes free-form design (drawing with the non-dominant hand), proportion, drawing and shading techniques. Prerequisites: Basic drawing skills. | Intermediate |
Character Animation in 3D Studio MAX | Ben de Leeuw | Focuses on animating characters using Kinetix 3D Studio MAX. Explores strategies for efficiently creating compelling characters with MAX’s tools, with some plugin demonstrations. Topics include keyframing, animation controllers, and general character animation techniques. Prerequisite: Working knowledge of 3D Studio MAX. | Intermediate |
Getting the Job You Want in Digital Animation (Part 2) | Peter Plantec | Continuation of Part 1 (session 014). Covers developing great ideas for your demo reel, where and how to send your materials, and how to ace the interview. Includes critiques of demo tapes (collected over years) by instructor and studio recruiters. Great opportunity for newcomers to network. Prerequisite: It’s recommended to have attended Part 1 for maximum benefit. | Intermediate |
Building Faces: Strategies for Animating Facial Expressions | George Maestri | Discusses the complexity of facial animation – “the face is a mirror to the soul.” Covers techniques from modeling through setup and animation to create believable facial expressions. Emphasizes understanding facial anatomy and expression basics, with tips for expressive eyes, lip sync, and conveying emotion/mood. Prerequisite: Basic understanding of facial animation. | Intermediate |
Advanced Modeling Techniques with Extreme 3D | Gerard Chateauvieux | Designed for animators using (or wanting to use) Extreme 3D in production. Covers techniques for using construction geometry, layers, and linking to improve modeling efficiency and ease. Prerequisite: Basic understanding of 3D concepts and animation. | Intermediate to advanced |
Videotape Output from Start to Finish | Gregory Pyros | Step-by-step class on outputting computer animations to videotape, emphasizing 3D Studio MAX. Covers various output devices, methods, and techniques, from quick in-house methods to full broadcast-quality output. Also discusses using proxy clips to speed up editing without image degradation. No prerequisites. | All levels |
Tornadoes, F16’s, and Mars Attacks: Special Effects in 3D Studio MAX | Frank Delise | Reveals techniques behind spectacular Hollywood FX as seen in Twister, Independence Day, Mars Attacks, etc. Teaches 3D Studio MAX tips and tricks to create dazzling special effects (e.g. tornadoes, jets, explosions) seen on-screen. Prerequisite: Knowledge of 3D Studio MAX. | Intermediate to advanced |
Camera Animation | Chris Tome | Teaches basic cinematographic concepts in a 3D context. Students learn to keyframe and adjust virtual cameras for various cinematic shots. Topics include panning, zooming, lens effects, depth of field, and more. No prerequisites. | Beginning to intermediate |
Bringing Your Character to Life Using Softimage Shape Animation | Annesa Hartman | How to bend, stretch, mold, and morph characters using Softimage 3D’s Extreme Shape and Cluster Animation tools. Covers techniques to animate an entire mesh or parts of it, including shrink-wrap and quick-stretch effects. Prerequisite: Basic familiarity with the Softimage interface and some 3D animation experience. | Intermediate to advanced |
Composing 3D Graphics for Music Videos | Nathan Vogel | Shows how to combine music and visuals so they sync to each beat. Explores secret techniques to compose animations tightly integrated with music. Includes examples of successful music-synced animations and demonstrations of software techniques used to achieve those effects. No prerequisites. | Intermediate to advanced |
Sculpting with Clay | Brian Wade | Covers the complete process of creating a finished sculpture, from building an armature to final touches. Topics include developing the concept, pose, gesture; understanding form, proportion, symmetry, rhythm; working with various clays; and finishing techniques. Prerequisite: Basic sculpting skill. | Intermediate to advanced |
Walking: Techniques for Creating Biped and Multilegged Character Walks | George Maestri | Examines how a character’s walk conveys personality. Covers tools supporting forward/inverse kinematics and automatic walk cycles (e.g. Softimage’s Multiped, Kinetix’s Biped) and emphasizes that animators must understand walking fundamentals beyond the software. Presents techniques (tool-agnostic) for making characters walk, hop, skip, jump – both bipeds and creatures with more than two legs. Prerequisite: Familiarity with animation. | Intermediate to advanced |
Animation Behaviors | Peter Plantec | With the rise of digital characters, animators must understand character behavior. Draws from principles of animal behavior (as used in classical animation) to inform digital character acting. Discusses conveying thoughts, emotions, and motivations through body language and creating the illusion of mass in weightless digital models. Shows why automatic tools (like Character Studio) can’t replace an animator’s artistic touch. Prerequisite: Some knowledge of animation. | Intermediate |
Using Expressions in Alias (or Using Math to Animate!) | Scot Tumlin | Demystifies using mathematical expressions in Alias PowerAnimator to drive animations (a feature often intimidating to artists). Shows how to animate objects via math formulas, with examples of animations created with expressions and a step-by-step method to develop your own. Prerequisites: Experience with Alias PowerAnimator 7.5 or higher, and familiarity with the Alias Action Window. | Intermediate to advanced |
Lighting Design | Donald Grahame | Focuses on creating striking CG imagery through effective lighting. Reviews world-class 3D animation examples across major software (LightWave, 3D Studio/MAX, Softimage, Alias, Lightscape, Extreme 3D, RenderMan) to compare renderer qualities. Covers practical techniques for dramatic or realistic lighting. Prerequisite: Basic knowledge of 3D modeling and rendering. | Intermediate |
Compositing 3D Elements in LightWave | Ace Miles | Basics of compositing 3D animation into real-world background footage using NewTek LightWave. Topics include creating digital matte paintings, using background fog, matching lighting, and using LightWave’s Front Projection with “shadow alpha” for realistic integration. Also covers Worley Labs’ new “Gaffer” lighting plug-in for composite shots. Prerequisites: Intermediate knowledge of LightWave 3D and basic 3D experience. | Intermediate to advanced |
Advanced Modeling Decisions for Game Developers | Troy Dunniway | Clarifies differences between polygonal, NURBS, and metaball modeling, and how each benefits game artists. Demonstrates when to use various modelers or plug-ins on Windows NT to model faster and better. Examples include modeling a low-poly real-time game character vs. a high-res cut-scene character, and integrating tools with 3D Studio MAX, LightWave, and Softimage. Wide variety of software discussed (MAX, Sculptor NT, Rhino 3D, form*Z, MetaReyes, Clay Studio, etc.). Prerequisite: Experience with 3D Studio MAX or another modeling package. | Advanced to expert |
Expressions in LightWave | Brad Peebler | (No level given) Advanced techniques for using LightWave 3D’s particle and effects tools to create organic explosions, flames, exhaust, and other effects. Focuses on native LightWave tools and plug-ins like Particle Storm, sharing tricks learned from Hollywood animators at studios like Digital Domain and Foundation Imaging. Level: (Not specified) | N/A |
Modeling and Texturing for Games | Brian Levy | In-depth course on efficient, organized modeling and texturing for pre-rendered game environments. Using Alias PowerAnimator, demonstrates ensuring models and textured environments animate quickly and render fast. Discusses modeling and rigging techniques for characters and environments under tight budgets and schedules. Real-world tips provided for productivity. Prerequisite: Knowledge of current modeling and texturing methods. | Beginning to advanced |
Authoring for Artists with Macromedia Director | Marabeth Harding | Helps artists understand how their artwork is integrated into multimedia productions. Discusses the process of creating finished multimedia (especially in Macromedia Director) and how to prepare digital art for CD-ROM or web delivery. Topics include proper file formats, naming conventions, when to use movie files vs. Director animations, working within playback limitations, designing with reduced color palettes for faster display. Prerequisite: Experience creating multimedia. | Intermediate |
Forensic Animation | Andrew Reese | Covers creating and presenting animation for courtroom use. Acquaints design professionals with the legal foundations for forensic animation, where it’s useful, its benefits and potential for misuse. Discusses practical aspects of working with attorneys, special techniques and limitations in creating accurate reconstructions, pitfalls when testifying, and considerations for hardware, software, and gory content. Extensive use of videotaped case examples. No suggested prerequisites. | All levels |
Monsters, Creatures, and Bugs – Modeling Them (Part 1) | Sanford Kennedy | Overview of using 3D Studio MAX, Clay Studio, and Character Studio to create aggressive or threatening monsters, creatures, and insects. These models are staples of action films and TV sci-fi. Discusses careful planning, artistic skill, and modeling techniques needed for realism – proper proportions, balance, weight, and detailed features (hair, scales, skin, fluids, etc.). Prerequisite: Knowledge of 3D Studio MAX or basic modeling principles. | Intermediate to advanced |
Particle Systems and Volume Effects for 3D Studio | Josh Nelson | Covers using particle systems in 3D Studio (v4 and MAX) to create effects like explosions, smoke, gases, flames, fireworks, sprays, vapor, etc. Also discusses advanced third-party particle systems (e.g. SandBlaster and Combustion for 3D Studio MAX). Shows sample animations from each software. Prerequisite: Experience with 3D Studio. | Intermediate |
Integrating a 2D Video Editor with 3D Stills and Animation: Adobe Premiere | Chris Manners | Shows why every 3D animator/multimedia developer should use a video-editing app like Adobe Premiere. Focuses on compositing multiple video and 3D layers with alpha channels, chroma-key, and mattes, plus adding effects via plug-ins. Discusses integrating 2D motion captures, stills, and 3D animations using Premiere’s motion controls, transitions, and the trade-offs between compression and quality. Also covers using proxy (“miniature”) clips for faster editing, mixing multiple audio layers, outputting to video, and using Premiere projects in other multimedia. No prerequisites. | Intermediate |
Modeling in LightWave: Metaform and MetaNURBS (Part 1) | Ace Miles | Shares secrets of modeling with LightWave 3D’s two unique tools: Metaform and MetaNURBS. Topics include differences between metaforms vs. MetaNURBS, when to use each, and their pros/cons relative to other Modeler tools. Demonstrates using LightWave’s other tools (Bevel, Smooth Shift, Drag, Magnet, etc.) in conjunction with MetaNURBS. Prerequisites: Basic knowledge of LightWave Modeler and general 3D modeling experience. | Intermediate to advanced |
Monsters, Creatures, and Bugs – Animating Them (Part 2) | Sanford Kennedy | Continuation of Part 1, focusing on character animation of monsters/insects in 3D Studio MAX with Character Studio. Shows techniques for animating aggressive and violent behaviors common in action films and TV. Includes multiple-legged walk cycles, fight choreography for creatures, and ensuring realistic motion (with reference clips of animals/insects fighting – not for the squeamish). Prerequisite: Knowledge of 3D Studio MAX or animation principles. (Students should attend Part 1 for best results.) | Intermediate to advanced |
3D for Print | Henk Dawson | Explains the advantages of using 3D graphics in print projects. Demonstrates real project examples to show how 3D can generate derivative works, texture variations, and interactive compositions for client presentations. Covers preparing 3D images for press, including managing polygon count, image resolution, color correction, and final output settings. Prerequisite: Some experience using 3D for print media. | Intermediate |
Production Techniques for Large-Scale Animation Projects | Brian Levy | Introduces tools and techniques from Alias/Wavefront’s latest software release that aid large animation productions. In-depth review of the SoundSync tool for character lip-sync and unlimited animation setup. Gives an overview of optimal modeling/texturing workflows to keep production on schedule, including file-size management for efficiency. Ideal for game/animation production staff seeking maximum “bang for the buck.” Prerequisite: Basic familiarity with current game production techniques. | Beginning to advanced |
Project Management | Donald Grahame | Emphasizes that organization is key to large projects. Taught by an instructor who navigated every pitfall during The Last Express (a complex interactive CD-ROM). Covers how to start projects right, work with publishers and subcontractors, manage large teams, and even “manage your managers.” Helps you conquer major organizational challenges in multifaceted projects. No prerequisites. | Intermediate |
Modeling in LightWave: Organic Shapes (Part 2) | Ace Miles | In-depth look at modeling organic characters in LightWave Modeler. Covers tools like MetaNURBS, MetaformPlus, and spline patching to create organic forms. Discusses modeling with future animation in mind – using LightWave’s bones, Metamation, and external plug-ins (Puppet Master, Morph Gizmo) effectively. Prerequisites: Recommended to have attended Part 1 (session 072); intermediate modeling knowledge required. | Advanced |
3D Paint | Troy Dunniway | General overview of 3D paint technologies and tools. Introduces 4D Paint (4D Vision), MeshPaint 3D (Positron), and Detailer (Fractal Design). Explains why 3D paint is invaluable in production. Second part demonstrates using 4D Paint with Photoshop and 3D Studio MAX to easily create complex texture and bump maps on organic models. Prerequisite: Basic understanding of Photoshop and 3D Studio MAX (recommended). | All levels |
Nurbs Modeling | Brian Levy | In-depth course on speeding up NURBS modeling for production. Covers thought processes and techniques for efficient NURBS modeling that yields animation-friendly models. Emphasizes creating models that are both efficient and easy to animate, focusing on character and environment modeling. Demos Alias PowerAnimator tools in depth and techniques for a more free-form approach. Must-have for production artists aiming to boost speed and productivity. Prerequisite: Knowledge of NURBS-based modeling. | Intermediate |
Intermediate Texture Mapping (Part 1) | Alex Lindsay | Covers the fundamentals of creating and using texture maps to blur the line between CG and reality. Discusses how to start: making tileable textures from photos, creating believable surfaces from scratch, etc. Prerequisite: Intermediate understanding of Adobe Photoshop. | Intermediate |
Animating Your Avatar | Robert W. Saint John | Introduces the basics of animation in VRML 2.0 and applies them to building avatars for multi-user VRML worlds. Topics include optimizing 3D models for VRML, using world-building and traditional 3D tools to speed up development, adding behaviors to avatars, and an overview of efforts to standardize “living” worlds and avatars in VRML. Prerequisites: Familiarity with VRML, 3D modeling, and animation. | All levels |
Creating Fantasy Worlds | Eni Oken | Walks through creating believable fantasy environments with 3D graphics. Topics include choosing a concept, designing and executing ideas, plus textures, colors, and lighting techniques. Demonstrations use 3D Studio, but techniques apply to any 3D software. Prerequisite: Basic knowledge of any 3D modeling software. | Intermediate |
Advanced Techniques with 3D Studio MAX | David Anthony | Examines advanced modeling methods in 3D Studio MAX such as Boolean operations, lofting, and deformation curves to create a complex shape. Shows a real-time rotation of a textured and mapped model. Prerequisite: Experience with 3D Studio MAX. | Advanced |
Art Directing 3D for Interactive Media | Isaac Victor Kerlow | Examines the daily realities of art directing 3D projects for interactive media (CD-ROMs, cartridges, online). Topics include translating an artistic vision into a timely, technically feasible product; balancing artistic goals with technical constraints; defining pipelines to achieve art goals; and communication between art, technical, and production staff. No prerequisites. | Intermediate |
Intermediate Texture Mapping (Part 2) | Alex Lindsay | Continues from Part 1 (session 091). Explores creating advanced maps for unique surface effects that can’t be modeled easily. Subjects include animated textures, bump maps, specular maps, displacement maps, luminance maps. Prerequisites: Intermediate Photoshop, basic texture mapping knowledge. (Students should attend Part 1 for full benefit.) | Intermediate to advanced |
Graphic Compression and Techniques for Web Animation | Dave Friedel | Covers the latest Internet solutions for web animation and emerging 3D web tech. Topics include compression techniques, custom control options, animated GIF and JPEG solutions. Demonstrations of technologies like Superscape, DirectX, Flash, and others to showcase new methods for web animation and 3D. Prerequisites: Basic video/animation experience and some understanding of internet programming, Director, or related software. | Intermediate to advanced |
Creating Effective Architectural Walkthroughs | Jeff Hester | Shows how to use 3D visualization tools to communicate architectural designs under tight budgets and schedules. Provides tips and tricks for on-time, on-budget walkthroughs – from storyboarding to delivery. Uses 3D Studio, AutoCAD, and MAX for demos, but concepts apply to any visualization tool. Prerequisite: Familiarity with architectural visualization tools. | Intermediate |
Ultimate Space Battle | Chris Tome | Focuses on how to create a dramatic space battle animation. Starts with scripting and storyboarding, then covers model and scene creation, special effects, and particle systems, through to final rendering. Prerequisite: Some animation experience. | Intermediate to advanced |
The Art of Convincing Landscapes – Tips & Techniques for Bryce 2.1 | Susan A. Kitchens | Explores creating convincing landscapes in Bryce 2.1 (Mac/Win). Covers two main areas: 1) geometry – using Edit/Replication controls and expert terrain manipulation in the Terrain Editor; 2) scene appearance – controlling environment settings (sky, fog) for mood and realism, and tweaking object surfaces in the Materials Composer. By session end, students have a solid Bryce foundation and tips for more realistic scenes. Prerequisite: Familiarity with basic Bryce 2.1 features. | Advanced-beginner to intermediate |
Advanced Particle Animation | Chris Tome | Demonstrates using various particle systems to create more interesting flying logos, realistic particle simulations, and special effects. Uses a range of software including Softimage Particles, SandBlaster for MAX, Particle Type for LightWave. Topics include particle collision, flocking behaviors, object replacement, and more. Prerequisite: Animation experience. | Intermediate to advanced |
Facial Animation | Benjamin Harrison | Tackles the complexity of animating faces, one of 3D’s final frontiers. Begins with discussing modeling methods that allow flexibility for animation (splines, patches, NURBS, polygons, metaballs, etc.). Then covers preparing a neutral face for speech and expression, demonstrating basic lip-sync techniques and subtler facial movements to bring characters to life. Tips are product-agnostic, applicable in many software packages. Prerequisite: Experience in modeling and animation. | Intermediate to advanced |
Methods for Integrating Art and Technology in Game Development | Edward Kilham | Focuses on streamlining the integration of art and technology during interactive game development from a design perspective. Discusses methods for improving communication between artists and programmers, tool development, data pipelines from content creation to implementation, and other relevant topics. Addresses common development problems in human communication and data sharing, and how to design the development process to mitigate them. Prerequisite: Experience in designing medium-to-large-scale projects. | Intermediate to advanced |
Modeling for VRML Using Softimage | Anthony Rossano | Explores tools for exporting VRML 1.0 geometry, materials, and textures from Softimage 3D Extreme. Provides the inside track on which polygonal structures work best in VRML and how to avoid pitfalls/bugs in Softimage’s VRML exporter. Shows how to create materials that look good in a VRML browser and how to create effective texture maps bound to polygon vertices. Prerequisite: Understanding of polygonal geometry. | Intermediate |
The Procedural Mecca – Bryce’s Deep Texture Editor | Susan A. Kitchens | A thorough introduction to Bryce’s powerful but undocumented Deep Texture Editor (DTE), the heart of its procedural textures and natural landscapes. The DTE is an “Easter egg” for power users – this session demystifies it. Covers all DTE features and builds some textures from scratch. Attendees are encouraged to bring questions. Prerequisite: Familiarity with Bryce 2.1 (Mac/Win), especially the Materials Composer, or some DTE experience. | Intermediate to advanced |
Creating Profitable Web Pages | Nancy Fulton | Addresses the business side of web design: how to design and develop web pages that are good business investments, not just novelties. Discusses maintaining company interest and investment in web publications, attracting new clients, and upselling features to existing clients. Covers designing pages that directly increase profitability. No prerequisites. | Intermediate |
3D: The Ultimate Cost Saving Design Tool? | Jeff Hester | Counters the perception that 3D visualization is an expensive luxury by showing how real design teams use tools like AutoCAD and 3D Studio during conceptual design to save money. Walks through an actual design process from a case study, outlining cost savings achieved by integrating 3D early. No prerequisites. | Intermediate |
Advanced Lighting using Gaffer and LightWave | Grant Boucher | Covers advanced lighting and surfacing techniques using Worley Labs’ Gaffer plugin with NewTek LightWave 3D. This combo represents state-of-the-art digital lighting, exceeding even some capabilities of RenderMan or Mental Ray. (Gaffer was co-developed with Digital Domain, and the instructor’s team helped create it.) Prerequisite: Familiarity with general lighting techniques. | Advanced |
Character Maquettes for Animation | Simone Raclin | Covers how to build physical character maquettes to aid animation. Includes armature construction, sculpting, and finishing techniques. Discusses anatomy, character posing, and exaggerating forms for effect. Features a step-by-step demo from model sheets to a rough maquette, followed by discussion of different types of maquettes and their use in production. Participants can bring their own projects for troubleshooting. No prerequisites. | Intermediate |
Tom Kalinske in RETRO volume 9 (page 25) ↩