Another exciting trend in game animation are tools that blend procedural and keyframed/MoCap data. The best example is probably NaturalMotion’s endorphin. © NaturalMotion Ltd. 2005.

“Interestingly, established film production companies are starting to explore alternative structures (e.g., ILM’s new art pipeline and campus structure) to encourage artist investment, creativity,” adds Chouls. “It remains to be seen if the game industry can leapfrog the assembly line phase, or if it will have to learn all over again that artists are not invested as ‘Ogre Toe Nail Painter #5.’ Another exciting trend in game animation are the tools that blend procedural and keyframed/MoCap data. The best example is probably NaturalMotion’s endorphin. Havoc is also focusing on character physics in the next version. Combine these kinds of tools with runtime engines, and you have a powerful animation pipeline for next-gen titles. We’re also seeing a growing focus on facial animation that will be increasingly important in next-gen games.”

Kripalani suggests that the next five years will see a shift in focus in game development from graphics display technology to simulation technology. “For years, developers have been struggling with how to get rich graphics onto the screen. Using PS2 and Xbox technology, many companies were allocating up to 70% of the available processing power just for this task. The new systems have anywhere from eight to 20 times the processing power of the last generation. Even assuming HDTV resolutions, it is predicted that only 50% of the total computing power will be required for graphics display. Therefore, there will be ample cycles to spend on AI, physics, characters, etc. Levels and worlds will feel less structured. Character animations and interactions will no longer feel ‘pre-baked.’”

Max vs Maya: With the passing of the rivalry, speculation is already rampant about the future of 3D animation software development now that Autodesk has acquired Alias.

As for last month’s shocking news that Autodesk had acquired Alias, speculation is rampant among game developers who rely on those tools about what to expect next.

Not surprisingly, Gunn beams: “There has always been this rivalry between Max and Maya and that wall has come down. No longer will I have to look at the pluses & minuses of both packages. I can just use the best tools that are out on the market and know they come from one place… Autodesk.”

By contrast, Robertson says: “I am a Max user, so you might think that I would be happy that Max ‘won.’ Actually, I think it stinks. Competition is good…it only made both products better. Without the competition there, who knows where they are going to end up? I imagine calling customer support up and being treated like the cable company treats you when you call.”

Fred Galpern is currently the art manager for Blue Fang Games, located just outside Boston. He is also a part-time Maya instructor at Northeastern University. Since entering the digital art field more than seven years ago, Galpern has held management positions in several game and entertainment companies, including Hasbro and Looking Glass Studios. He began his art career as a comic book creator and also has professional graphic design experience.