CONFERENCE

PRODUCTION

In recent years, game industry production challenges have been split between massive budgets for AAA console games, and significant new production challenges from social, online, smartphone and other emerging types of game. The goal of the Production Track is to provide developers with concrete tactics for managing game production, no matter what size or scope your game is.

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Three Years of Collaboration on Assassin's Creed III

Damien Kieken (Ubisoft)
Marc-Alexis Cote (Ubisoft Quebec)
Hugues Ricour (Ubisoft Singapore)
Francois Pelland (Ubisoft Montreal)
Alexander Hutchinson (Ubisoft)

Building the Assassin's Creed experience requires the creativity of hundreds of people. Ubisoft has leveraged the power of its studio network in the hopes of improving the quality of its games, and to create new ideas and distribute risk. This session will feature a panel formed by the five studio leads of Assassin's Creed III. The panel will aim to brief the audience on the challenges of distributing the creation of the game, and on the different models that were tried over time. Each panelist will share his experience of working in such a way, as well as the advantages and hardships it can bring.

Building Epic Worlds through the Strengths of Artsourcing

Chris Mielke (Epic Games, Inc.)

The Gears of War, Infinity Blade, and Fortnite universes started out as concepts on paper, but were lovingly crafted into living worlds by talented external artists shepherded by Epic studio staff. Looking back through these titles, attendees will discover how the Epic quest for high quality artwork was fulfilled. They will learn the secrets of Epic's success in utilizing outsourcers and will be better prepared to circumvent some of the obstacles Epic encountered in the early days of production for all these award winning titles.

Production Culture: How Two and a Half Artists Completed the FX for Gears of War 3

Francois Antoine (Epic Games, Inc)

In an time of ever-growing development teams, Epic Games prides itself on keeping its dev team a small as possible. In this presentation we will look at how two and a half artists managed to create FX for an entire AAA game, including cinematics. This presentation's focus will be on how Epic Game's 'production culture' made this possible, and how deeply it reaches into all aspects of the company, from the hiring process to the software tools.

Racing to the Finish: Content Production on Forza Motorsport 4

Arthur Shek (Microsoft Studios (Turn 10)) and Tatyana Dyshlova (Microsoft Studios)

Producing content can be challenging, even on a small scale project. Managing production of over 500 cars and 26 unique tracks in less than 2 years, while working with studios across 4 countries, is a downright scary and daunting task. How did Turn 10 Studio manage this complexity for "Forza Motorsport 4" without getting buried in the overwhelming day-to-day details? This presentation covers the content production challenges encountered on a large-scale AAA title and how Turn 10 used new processes and technology to manage, schedule and scope our project to nail our ship date.

CONFERENCE

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2013 HIGHLIGHTED SESSIONS

2012 HIGHLIGHTED SESSIONS

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