| Introduction |
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1 | (6) |
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Part I: The Unreal Universe |
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Unreal Technology: The Big Picture |
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7 | (22) |
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8 | (3) |
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11 | (6) |
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Introduction to the Unreal Engine |
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11 | (1) |
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11 | (4) |
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Overview of Component Interaction |
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15 | (2) |
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Engineering New Worlds with the Unreal Engine |
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17 | (10) |
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17 | (4) |
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21 | (6) |
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27 | (2) |
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The Process of Game Development |
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29 | (18) |
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Building Your Foundation: Before Production |
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30 | (10) |
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30 | (2) |
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32 | (3) |
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35 | (4) |
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Refining Your Ideas with the Team |
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39 | (1) |
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Creating a Production Schedule |
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40 | (1) |
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Beginning Construction: During Production |
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40 | (2) |
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41 | (1) |
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41 | (1) |
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41 | (1) |
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Testing and Acquiring Feedback |
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42 | (1) |
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42 | (1) |
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43 | (1) |
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Remodeling and Closing: Ending Production |
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43 | (2) |
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What to Do with Beta Test Info |
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43 | (1) |
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When to Stop Beta Testing |
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44 | (1) |
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44 | (1) |
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45 | (2) |
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Creating Your First Level with UnrealEd |
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47 | (58) |
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48 | (2) |
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The Subtractive Method of Level Creation |
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48 | (2) |
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50 | (1) |
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The Anatomy of an Unreal Level |
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50 | (3) |
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50 | (1) |
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51 | (1) |
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52 | (1) |
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A Quick Tour Around the User Interface |
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53 | (2) |
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53 | (1) |
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53 | (1) |
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53 | (1) |
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53 | (1) |
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53 | (1) |
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53 | (1) |
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54 | (1) |
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55 | (2) |
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55 | (1) |
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Positive and Negative Directions |
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56 | (1) |
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57 | (10) |
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Subtracting Out Space: How Tall? |
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58 | (4) |
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62 | (2) |
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64 | (1) |
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65 | (2) |
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67 | (11) |
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Subtracting the First Room |
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68 | (1) |
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69 | (3) |
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72 | (2) |
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Making the Level Functional |
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74 | (4) |
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Expanding the Level: Creating Objects and Adding Lights |
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78 | (15) |
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78 | (15) |
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Adding Detail: Static Meshes |
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93 | (10) |
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93 | (1) |
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94 | (7) |
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Decorating with Static Meshes |
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101 | (2) |
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103 | (2) |
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Advanced Brush Techniques |
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105 | (42) |
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107 | (4) |
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107 | (1) |
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107 | (4) |
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Brushes from Other Brushes |
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111 | (4) |
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111 | (2) |
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113 | (2) |
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115 | (10) |
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116 | (2) |
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118 | (1) |
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Brush Clipping (2D and 3D) |
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118 | (7) |
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125 | (2) |
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127 | (12) |
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128 | (1) |
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129 | (7) |
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Using the 2D Shape Editor to Create a Simple Level |
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136 | (3) |
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139 | (5) |
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139 | (3) |
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142 | (1) |
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143 | (1) |
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Saving Brushes (u3d Files) |
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144 | (1) |
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Importing/Exporting Brushes |
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145 | (1) |
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145 | (2) |
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147 | (58) |
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148 | (1) |
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The Components of Terrain |
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148 | (2) |
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Terrain Zoning with the ZoneInfo Actor |
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148 | (1) |
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Using the TerrainInfo Actor |
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149 | (1) |
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Controlling Terrain with the Height Map |
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149 | (1) |
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150 | (1) |
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151 | (1) |
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Altering Terrain with the Terrain Editing Dialog |
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151 | (6) |
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Lighting Terrains with Sunlight |
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157 | (2) |
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159 | (7) |
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159 | (1) |
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160 | (6) |
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A Closer Look at Terrain Editing |
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166 | (19) |
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Terrain Editing User Interface |
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167 | (3) |
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170 | (3) |
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173 | (4) |
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Applying the Terrain Editing Tools |
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177 | (8) |
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185 | (1) |
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Texture Layer Editing Tools |
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186 | (2) |
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186 | (1) |
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187 | (1) |
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187 | (1) |
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187 | (1) |
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187 | (1) |
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188 | (1) |
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188 | (4) |
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192 | (12) |
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204 | (1) |
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205 | (26) |
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206 | (1) |
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207 | (8) |
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207 | (1) |
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208 | (4) |
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212 | (3) |
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215 | (14) |
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218 | (6) |
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224 | (2) |
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226 | (1) |
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226 | (3) |
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229 | (2) |
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231 | (38) |
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232 | (1) |
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232 | (1) |
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233 | (1) |
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233 | (1) |
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233 | (1) |
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234 | (1) |
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234 | (7) |
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234 | (1) |
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235 | (1) |
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Light Type and Light Effects |
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235 | (1) |
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235 | (6) |
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241 | (7) |
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241 | (1) |
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241 | (2) |
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Working with Light Effects |
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243 | (2) |
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245 | (2) |
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247 | (1) |
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248 | (2) |
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248 | (1) |
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Static Meshes, Meshes, and Movers |
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249 | (1) |
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249 | (1) |
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250 | (1) |
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Advanced Lighting Effects |
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250 | (10) |
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251 | (1) |
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252 | (1) |
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253 | (1) |
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Emitting Light from Other Actors |
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254 | (2) |
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256 | (1) |
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257 | (3) |
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260 | (5) |
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261 | (4) |
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265 | (2) |
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267 | (2) |
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Creating Materials in Unreal |
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269 | (48) |
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270 | (12) |
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271 | (5) |
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276 | (2) |
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The Texture Properties Window |
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278 | (1) |
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279 | (3) |
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282 | (6) |
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Diffuse and Specularity Maps |
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283 | (4) |
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287 | (1) |
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287 | (1) |
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287 | (1) |
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288 | (8) |
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288 | (2) |
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The TexOscillator Modifier |
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290 | (1) |
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291 | (1) |
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292 | (1) |
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293 | (1) |
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294 | (2) |
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Creating Reflective Surfaces with Cubemaps and TexEnvMaps |
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296 | (9) |
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305 | (2) |
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307 | (9) |
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316 | (1) |
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317 | (42) |
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317 | (5) |
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318 | (4) |
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322 | (3) |
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Creating a MessageTrigger |
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322 | (3) |
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325 | (24) |
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A Simple Elevator: UseTrigger |
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325 | (4) |
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Complex Elevator Overview |
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329 | (20) |
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349 | (4) |
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353 | (2) |
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355 | (4) |
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Part II: Advanced Design Techniques |
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Creating Particle Effects |
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359 | (42) |
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360 | (1) |
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361 | (1) |
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361 | (21) |
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382 | (5) |
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387 | (2) |
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389 | (7) |
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396 | (3) |
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399 | (2) |
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401 | (40) |
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402 | (9) |
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404 | (6) |
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Karma Collision Primitives |
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410 | (1) |
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411 | (12) |
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411 | (4) |
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415 | (3) |
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418 | (5) |
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423 | (2) |
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The Karma Authoring Tool (KAT) |
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425 | (15) |
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425 | (1) |
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426 | (1) |
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427 | (13) |
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440 | (1) |
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Advanced Bot/AI Navigation |
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441 | (26) |
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442 | (6) |
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447 | (1) |
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448 | (2) |
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Diagnosing Problems with the Map Check Dialog Box |
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448 | (1) |
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449 | (1) |
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450 | (11) |
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Jump Pads and Teleporters |
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450 | (1) |
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450 | (5) |
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455 | (3) |
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458 | (2) |
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460 | (1) |
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461 | (5) |
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461 | (3) |
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Defense Points and Sniping Points |
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464 | (2) |
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466 | (1) |
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466 | (1) |
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Matinee: Creating Custom Cinematics |
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467 | (38) |
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Introduction to the World of Machinima |
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468 | (1) |
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Overview of the Matinee System |
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469 | (2) |
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471 | (3) |
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472 | (1) |
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473 | (1) |
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473 | (1) |
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474 | (1) |
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Creating a Simple Matinee Sequence |
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474 | (5) |
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Working with the Scene Manager |
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479 | (1) |
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Triggering the Matinee Sequence |
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480 | (2) |
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Controlling the Camera Path |
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482 | (6) |
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Creating Camera Pauses and Camera Cuts |
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488 | (2) |
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A Closer Look at Sub Actions |
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490 | (4) |
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Setting Camera Orientation |
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491 | (2) |
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493 | (1) |
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Using Matinee to Control Actors |
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494 | (2) |
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Adding Text to Your Cutscenes |
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496 | (3) |
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Adding a More Cinematic Feel |
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499 | (1) |
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Automatically Launching the Movie |
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500 | (1) |
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Changing Levels with Matinee |
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501 | (3) |
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504 | (1) |
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Creating Scripted Sequences |
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505 | (18) |
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506 | (13) |
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Using Latent and Non-latent Actions |
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506 | (8) |
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514 | (5) |
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519 | (3) |
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522 | (1) |
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Level Optimization (Zoning) and Distribution |
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523 | (18) |
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Introduction to Level Optimization |
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523 | (1) |
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524 | (4) |
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528 | (4) |
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532 | (2) |
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534 | (1) |
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535 | (4) |
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535 | (3) |
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538 | (1) |
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539 | (2) |
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541 | (44) |
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542 | (1) |
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Deathmatch-Style Gametypes |
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543 | (5) |
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544 | (3) |
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Deathmatch Design Considerations |
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547 | (1) |
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548 | (3) |
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CTF Design Considerations |
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551 | (1) |
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551 | (3) |
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Design Considerations for Double Domination |
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554 | (1) |
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554 | (2) |
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Design Considerations for Bombing Run |
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556 | (1) |
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556 | (13) |
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Design Considerations for Onslaught |
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568 | (1) |
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569 | (13) |
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582 | (3) |
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Part III: External Design |
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585 | (36) |
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586 | (1) |
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586 | (6) |
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586 | (2) |
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588 | (4) |
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Overview of the User Interface |
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592 | (14) |
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593 | (2) |
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The Main Menu Bar and Menu Sets |
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595 | (2) |
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597 | (1) |
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598 | (1) |
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The Channel Box and Layer Editor |
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599 | (3) |
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602 | (1) |
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The Time and Range Sliders |
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603 | (2) |
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The Toolbox and Layout Selection |
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605 | (1) |
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605 | (1) |
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606 | (3) |
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609 | (1) |
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610 | (9) |
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611 | (4) |
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615 | (4) |
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619 | (2) |
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621 | (36) |
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622 | (1) |
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623 | (2) |
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624 | (1) |
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624 | (1) |
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Understanding the Tool Options and Display Settings in Maya |
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625 | (3) |
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628 | (14) |
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628 | (2) |
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Adding to Existing Polygons |
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630 | (2) |
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632 | (2) |
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634 | (1) |
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635 | (2) |
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Smoothing Versus Averaging Vertices |
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637 | (2) |
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639 | (1) |
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Cleaning Up Your Polygons |
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640 | (2) |
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642 | (14) |
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642 | (1) |
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643 | (2) |
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645 | (3) |
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Chamfering Vertices and Beveling Edges |
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648 | (1) |
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649 | (1) |
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650 | (2) |
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652 | (1) |
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653 | (1) |
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Adjusting Surfaces and Hard Edges |
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654 | (2) |
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656 | (1) |
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The Art of Texturing in Maya |
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657 | (24) |
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UVs and the UV Coordinate System |
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657 | (2) |
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659 | (4) |
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659 | (1) |
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660 | (3) |
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663 | (1) |
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663 | (1) |
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663 | (1) |
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664 | (4) |
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Creating Textures from UV Layouts |
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668 | (4) |
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UV Layouts for Characters |
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672 | (6) |
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Considerations for UV Layouts |
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678 | (2) |
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680 | (1) |
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681 | (44) |
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The Importance of Static Meshes |
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681 | (1) |
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682 | (3) |
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682 | (2) |
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684 | (1) |
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685 | (33) |
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Creating the Base Catwalk |
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685 | (18) |
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Constructing the Straight Catwalk |
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703 | (3) |
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706 | (2) |
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708 | (6) |
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Building a T-Intersection |
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714 | (3) |
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Building a Four-Way Intersection |
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717 | (1) |
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718 | (2) |
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Exporting Models to UnrealEd |
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720 | (3) |
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Texturing Your Static Meshes in UnrealEd |
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721 | (2) |
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723 | (2) |
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725 | (28) |
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726 | (8) |
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726 | (1) |
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726 | (8) |
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734 | (1) |
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734 | (1) |
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735 | (16) |
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735 | (6) |
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741 | (3) |
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744 | (1) |
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745 | (3) |
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748 | (1) |
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749 | (2) |
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751 | (2) |
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Importing Characters into UnrealEd |
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753 | (30) |
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754 | (1) |
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Introduction to Maya Joints |
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754 | (7) |
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755 | (1) |
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756 | (1) |
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757 | (1) |
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758 | (1) |
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Joints and Local Rotation Axes |
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759 | (1) |
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760 | (1) |
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Binding a Character to a Skeleton: Skinning |
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761 | (5) |
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Introduction to Smooth Bind |
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761 | (2) |
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Adjusting Joint Influence |
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763 | (3) |
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Importing a Character Without Custom Animation |
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766 | (16) |
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767 | (1) |
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768 | (1) |
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Adjusting the Skin Weights |
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769 | (2) |
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771 | (1) |
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Getting the Character Ready for Gameplay |
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772 | (5) |
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Creating the Character's Portrait |
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777 | (2) |
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The UPL File and Testing the Character In-game |
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779 | (3) |
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782 | (1) |
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783 | (62) |
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Introduction to Animation |
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783 | (1) |
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Popular Animation Methods in Maya |
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784 | (12) |
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784 | (8) |
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792 | (4) |
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Animation Choices---FK Versus IK |
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796 | (4) |
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800 | (4) |
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800 | (1) |
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801 | (2) |
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803 | (1) |
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804 | (2) |
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806 | (2) |
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Character Rigs: What They Are and Why We Need Them |
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808 | (17) |
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Creating the Character Rig |
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808 | (17) |
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825 | (1) |
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825 | (10) |
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826 | (1) |
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Creating Custom Animation Cycles |
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826 | (9) |
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Exporting Custom Animations into UnrealEd |
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835 | (6) |
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841 | (4) |
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APPENDIX A: The UnrealEd Manual |
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845 | (56) |
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846 | (1) |
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847 | (3) |
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848 | (1) |
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848 | (1) |
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848 | (1) |
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848 | (1) |
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849 | (1) |
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849 | (1) |
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849 | (1) |
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850 | (1) |
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850 | (1) |
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850 | (16) |
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Camera and Utilities Area |
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851 | (2) |
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853 | (1) |
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853 | (7) |
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860 | (4) |
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Selections and Movement Area |
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864 | (1) |
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Mirroring and Miscellaneous Area |
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865 | (1) |
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866 | (6) |
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867 | (1) |
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868 | (2) |
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Viewport Control Bar Context Menu |
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870 | (2) |
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872 | (2) |
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873 | (1) |
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873 | (1) |
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873 | (1) |
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873 | (1) |
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873 | (1) |
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873 | (1) |
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874 | (1) |
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874 | (1) |
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874 | (21) |
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874 | (2) |
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876 | (2) |
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878 | (1) |
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879 | (2) |
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881 | (3) |
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884 | (1) |
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885 | (2) |
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887 | (3) |
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890 | (5) |
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895 | (1) |
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895 | (1) |
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|
895 | (1) |
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896 | (1) |
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896 | (5) |
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|
896 | (1) |
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|
897 | (4) |
| Index |
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901 | |