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Test Code : HP2-B54
Test appellation : Large Format Technical Fundamentals
Vendor appellation : HP
exam questions : 40 true Questions

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RGS quick-Tracks enormous-structure colour Printing services with Two HP PageWide XL 8000 Printers | true Questions and Pass4sure dumps

Tuesday, April 26, 2016

Press liberate from the issuing business

RGS ReproGraphic options, a digital imaging and doc administration services industry for the design and structure trade, build in two HP PageWide XL 8000 Printers in its Las Vegas, Nevada vicinity to extend and raise its massive-layout color printing capabilities. on the grounds that the setting up in January 2016, the enterprise has been in a position to enlarge the services provided to its purchasers, providing sooner colour printing in addition to improbable presentation pics, whereas expanding efficiency. With the HP PageWide XL 8000 Printers, RGS has been able to a ways exceed the print first-rate of its outdated know-how, whereas streamlining operation.

RGS, a member of the RGS group of agencies, chosen HP tremendous-structure printing technology to deal with total of its big-structure colour printing functions on account of its fine, pace and flexibility. The HP PageWide XL 8000 Printers enable the industry to provide industry shows, architectural renderings, posters and other colour initiatives on a big media latitude up to forty inches at step forward speeds, while atmosphere a fresh technical doc pleasant common with crisp strains, fine aspect and cleanly grayscales. moreover, RGS installed HP DesignJet Z6200 and Z6800 image production Printers to deliver vigour and adaptability for incredible indications, displays and roll-up banners. With more efficient, faster gigantic-structure color printing, RGS can generate fresh salary streams and exceed within the carrier and fine that their customers own promote to expect. 

“The RGS production group has in reality build the HP PageWide XL 8000 Printers to the check, and they own been very impressed by means of the combination of excellent and pace,” referred to Billy Hamilton, CEO, RGS community of groups. “earlier than installing the HP PageWide XL 8000 Printers, processing info for colour jobs took hours, and now they are able to process the same info in a fraction of the time. we've been extremely convinced with the results of these items for their market, and their consumers are satisfied, which makes us satisfied.”

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HP Debuts finished Design to Print Portfolio at Autodesk university 2018 | true Questions and Pass4sure dumps

November 13, 2018 08:00 ET | source: HP Inc.

Showcases improvements designed for architectural, engineering, and construction organizations

LAS VEGAS, Nov. 13, 2018 (GLOBE NEWSWIRE) -- today at Autodesk school, HP Inc. introduced fresh hardware and solutions to befriend exchange the manner architectural, engineering, and structure (AEC) industries design and print. Autodesk clients will now undergo faster HP PageWide XL printers1, step forward simplicity with HP options for colossal structure printers, fresh Z via HP portfolio enhancements, and advances in VR.

the brand fresh expertise makes its debut within the HP showcase (#A451) of latest printing hardware and solutions designed to live intuitive and effective for Autodesk clients. journey the brand fresh HP solutions for tremendous format Printing, HP PageWide XL printing expertise, the newest HP DesignJet Z9+ PostScript® Printer chain printing Z by using HP posters, the HP DesignJet T830 24-in Multifunction Printer, HP fresh powerful HP ZBook mobiles, and VR “snacking” device.

Reinvents technical print production with faster entry-stage PageWide XL solutionsNow 25 % sooner at the same price1, the upgraded HP PageWide XL 4000 chain is probably the most budget friendly solution within the PageWide XL portfolio for commercial enterprise, public sector clients, together with architects and engineers, to obtain quick, and simple printing with a consolidated printing workflow.

The HP PageWide XL 4600 Printer and MFP and HP PageWide XL 4100 Printer and MFP live fraction of the fastest printer portfolio in the market2 providing speeds up to 15D/A1-size or 10D/A1-size prints per minute, for technical drudgery groups of architects and engineers and copy retail outlets to convey technical files with quick turnaround and low working expenses.3

With more than 7,000 instruments shipped and 5 billion ft² (500 million m2) printed since the HP PageWide XL printer launch in 2015, more clients are discovering the value the market-leading4 HP PageWide XL printers bring to companies worldwide. HP PageWide XL printers achieve the job of two printers in a solitary gadget, proposing both monochrome and color prints at breakthrough speeds: the power of 1.

Frictionless big structure printing experienceEight-five p.c of design creators necessity aid when printing in significant format5. HP is concentrated on supplying seamless print experiences with fresh options to enable creativity, productiveness, and smarter methods to bridge the actual print with the digital world. Designed to simplify how AEC corporations print, users own access to at least one click on solutions and may basically print each time and anyplace from total instruments.

fundamental and simple print solutions include:

  • HP click: This one-click on desktop printing application offers customers the self assurance to print preempt the first time. HP click on now enhances the users batch printing adventure with only 1 click on by means of optimizing media usage and fees while reaching mistake free printing.
  • HP smart App: A mobile app designed to print, scan, and share content now enables users to print content material from the cloud from nearly anyplace with transparency and control.
  • HP Poster App: a straightforward online design device to create and print expert searching posters with the biggest collection of free and premium content material. Now clients own entry with direct and straightforward printing with HP click.
  • "In an international with a 100% digital structure vision, paper continues to live essentially the most customary implement used in the field. petite businesses in the AEC industry require the correct paraphernalia to bridge physical prints with dynamic digital options, devotion CAD utility,” said Guayente Sanmartín, accepted supervisor and world Head, HP huge layout Design Printing. “HP’s vision is to merge the better of the physical and digital worlds to own everyone on the equal page."

    HP is participating with customers around the world on delivering a pilot software concentrated on the employ of augmented reality technologies to befriend sever back blunders caused by using out of date plans.

    "The HP Augmented Print solution has gigantic competencies. It bridges the gap between digital and paper. we are excited to drudgery with HP to enrich their customers’ progress initiatives,” mentioned Roberto Molinos, CEO and founder, Modelical.

    At Autodesk university, HP will furthermore showcase powerful HP ZBook mobiles and a VR “snacking” tool.

    changing the manner, the realm DesignsThe fresh Z by using HP portfolio including HP ZBook cellular workstations, HP Z desktops devotion the mighty HP Z2 Mini or the powerful HP Z8, and the award-profitable HP DreamColor shows, convey the effective productivity, versatility and protection nowadays’s vigor users should achieve their choicest work.

    The HP ZBook Studio, HP ZBook Studio x360, HP ZBook 15 and HP ZBook 17 own been superior with better processing power, innovative safety aspects and vibrant shows. The efficiency enhance, with six-core Intel® Core™ i9 processors, will permit clients to ply heavier workloads, equivalent to video modifying and 3D rendering. The improved reminiscence selection as much as 32 GB of reminiscence (expandable up to 128 GB reckoning on mannequin) enables users to drudgery sooner with colossal amounts of records. fresh safety characteristic RAID 1 gives clients mirrored SSD storage, featuring peace of intelligence by total the time providing returned up for helpful data.

    Tackling VR in fresh WaysFor architects, product designers, builders and educators, HP printed its Opera Glass proof of thought for “VR snacking.” The HP Labs innovation enables “VR snacking” clients to instantly and simply switching between fundamental array and VR headset whereas seated or standing at a desk. With HP’s ingenious thought, clients can at once enter and exit their VR ambiance, seamlessly combine with a proper workflow and straight away share a VR event with a group.

    Furthering its dedication to providing a finished VR solution, HP is working with Theia Interactive, a depended on developer that creates world-type VR visualizations for structure, manufacturing and past. Theia has wide undergo developing architectural walkthroughs, interior design configurators, XR product demonstrations, virtual verisimilitude practicing simulators and marketing experiences for manufacturers.


  • The HP PageWide XL 4600 and HP PageWide XL 4100 Printer sequence are scheduled to live purchasable by means of December 1 within the US, Canada, and EMEA. certain country releases will follow.
  • The HP ZBook Studio x360 is obtainable now for a starting price of $1,499.
  • The HP ZBook Studio is accessible now for a beginning price of $1,349.
  • The HP ZBook 15 is purchasable now for a beginning fee of $1,349.
  • The HP ZBook 17 is attainable now for a beginning expense of $1,349.
  • About HPHP Inc. creates expertise that makes life improved for every person, everywhere. via their portfolio of printers, PCs, mobile contraptions, options, and functions, they engineer experiences that amaze. more information about HP Inc. is attainable at

  • the fresh HP PageWide XL 4600 Printer sequence prints up to fifteen D/A1 size pages per minute in comparison with the brokendown HP PageWide XL 4500 Printer providing 10 A1/D dimension pages per minute.
  • fastest according to option low-quantity LED printers and MFPs (below 7 D/A1 pages/minute) as of November 2018.
  • Operational fees in response to low-quantity LED expertise beneath $20,000 USD in the market as of November 2018. Operational expenses encompass components and repair prices. For checking out standards, espy
  • HP PageWide XL printers portfolio are international market leaders in excessive-volume and mid-volume each within the united states and in Canada representing 40% of the share in accordance with IDC market share facts outcomes from August 2018, becoming +9% YoY.
  • From inner market analysis eye at conducted on LF printer users – September 2018.
  • in accordance with computer workstations as of June 14, 2017 and vigour in accordance with processor, graphics, reminiscence, and vigour deliver.
  • Pricing and availability theme to trade. Availability may furthermore disagree depending on area and nation.
  •       Autodesk and the Autodesk logo are registered emblems or emblems of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the united states of america and/or different countries.

    © 2018 Hewlett-Packard structure industry LP. The advice contained herein is sphere to trade devoid of notice. The most effective warranties for HP Inc. items and capabilities are set forth within the categorical warranty statements accompanying such items and features. Nothing herein should soundless live construed as constituting an additional warranty. HP Inc. shall no longer live liable for technical or editorial blunders or omissions contained herein.

    expertise Shifts and buyer demands drive changes in international immense layout Printer Shipments in 2015, in line with IDC | true Questions and Pass4sure dumps

    FRAMINGHAM, Mass.--(company WIRE)--in response to fresh information from the overseas statistics enterprise (IDC) international Quarterly giant structure Printer Tracker, the know-how traits that are shaped through buyer demands are riding combine changes in the international big layout printer (LFP) market. The circulation to colour printing within the technical market and the necessity for quicker turnaround in the pictures company has reshaped vital segments of the huge structure printer enterprise, yet key applied sciences, comparable to eco-solvent inkjet, own continued to prosper.

    "average, colossal format printer shipments declined by about 2% in 2015 with monochrome toner-based mostly printers and traditional aqueous inkjet printer shipments slipping, but key areas of growth protected eco-solvent, Latex, UV and colour toner printers," famous Tim Greene, research Director, U.S. colossal format Printer Tracker.

    phase Highlights

  • The tremendous structure CAD/Technical printer market phase declined by means of about 1.5% yr over 12 months in 2015, which is partly due to combine alterations with the entry of excessive-velocity single-flow aqueous inkjet printers such as HP's PageWide XL-collection on the inkjet side and KIP's 800-series colour toner contraptions, each of which got here to market in opposition t the conclude of 2015 and did well within the fourth quarter of 2015.
  • On the tremendous structure pictures side, the low conclusion of the aqueous inkjet market continues to decline with clients stirring to electronic communications, thereby decreasing the want for low-conclusion significant layout proofing techniques. Low-end aqueous inkjet printer shipments declined by greater than 15% international. That decline was offset a petite with the aid of the boom of low-end UV-curable inkjet pix printers which are meant to change some of the capabilities of pad printing within the promotional portraits market.
  • Shipments of colossal format printers that serve the long lasting pix company grew with the aid of well-nigh 10% global in 2015, led by UV-curable inkjet, Latex, eco-solvent, and dye-sublimation inkjet printers.
  • dealer Highlights

    The properly 5 giant layout printer suppliers global in 2015 had been, so as: HP Inc, Canon (when mixed with Oce), Seiko Epson, Roland DG, and Mimaki.

  • HP became impacted by using the softness in the CAD/Technical market in the course of the 2nd half of the year, where it has greater than 63% share of shipments. however HP changed into in a position to grow its share of complete gigantic structure printer shipments yr over 12 months in 2015 through expanding its share of the pix market.
  • Canon's total huge format printer shipments own been pretty flat in 2015 however the typical market declined so Canon's share of shipments grew very a petite bit in 2015 to twenty% normal.
  • Epson maintained its position because the quantity 3 global company to the tremendous structure digital printer market however the declines on the low-end aqueous inkjet market acutely impacted Epson, which dominates that segment.
  • Roland DG become the fourth-ranked employer of massive format printers international, however is in fact the preempt company in the durable pics printer phase, which contains eco-solvent, solvent, dye-sublimation, Latex, and UV-curable inkjet printers. Roland furthermore does specially smartly in the printer-cutter phase.
  • Mimaki recaptured its number 5 position amongst massive structure printer producers, surpassing Ricoh. Mimaki and Ricoh drudgery closely in conjunction with Ricoh distributing some of Mimaki's UV-curable inkjet and Latex inkjet printers.
  • An interactive photograph depicting the global market share of the prerogative 5 immense structure printer carriers in 4Q15 and 4Q14 is available here. The chart is conjectural for public employ in online information articles and companionable media. instructions on the artery to embed this image can live discovered by artery of viewing this press release on

      global colossal structure Printer Shipments, Market Share, and 12 months-Over-yr boom, 2015 companies  



    2015 MarketShare




    2014 MarketShare



    1. HP Inc a hundred thirty.6 41.5% 132.four forty one.1% -1.forty% 2. Canon sixty two.7 20.0% 63.6 19.7% -1.30% three. Epson fifty seven.2 18.2% sixty one.7 19.2% -7.30% four. Roland 10.7 3.four% eleven.0 3.4% -2.20% 5. Mimaki 7.9 2.5% 8.0 2.5% -0.ninety% Others forty five.three 14.4% 45.four 14.1% -0.20% total 314.5 a hundred.0% 322.1 one hundred.0% -2.40% supply: IDC global Quarterly huge format Printer Tracker, March 8, 2016  

    other Highlights

  • standard, big structure printer shipments within the EMEA declined by means of 7.8% yr over 12 months in 2015 in the photographs market, and by means of essentially 2% on the CAD/technical aspect.
  • this tumble 2015 changed into pretty potent, with shipments increasing by nearly 5% over Q3.
  • Mutoh had a powerful yr worldwide in 2015, becoming its shipments by about 20% in 2015 compared to 2014, aided by using fresh eco-solvent, dye-sublimation, and UV-curable inkjet printers.
  • Notes:

  • IDC tracks A2-A0+ devices within the LFP market.
  • The LFP market comprises single-feature printers, as well as multifunctional techniques (MFPs).
  • records for total companies are mentioned for calendar durations.
  • About IDC TrackersIDC Tracker items give accurate and well timed market measurement, dealer share, and forecasts for a whole lot of expertise markets from more than one hundred international locations worldwide. the employ of proprietary paraphernalia and analysis strategies, IDC's Trackers are up-to-date on a semiannual, quarterly, and month-to-month basis. Tracker effects are brought to customers in user-pleasant exceed deliverables and online query tools. The IDC Tracker Charts app allows for clients to view information charts from probably the most fresh IDC Tracker items on their iPhone and iPad. The IDC Tracker Chart app is furthermore attainable for Android telephones and Android capsules.

    About IDCInternational data supplier (IDC) is the premier international issuer of market intelligence, advisory functions, and movements for the suggestions know-how, telecommunications, and purchaser technology markets. With more than 1,one hundred analysts worldwide, IDC offers world, regional, and local talents on technology and trade opportunities and traits in over 110 international locations. IDC's analysis and perception helps IT specialists, company executives, and the investment group to design truth-based mostly know-how selections and to achieve their key industry goals. centered in 1964, IDC is a subsidiary of IDG, the world's leading expertise media, research, and hobbies enterprise. To learn greater about IDC, please consult with comply with IDC on Twitter at @IDC.

    All product and company names may live trademarks or registered emblems of their respective holders.

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    Will Wright brings his game design expertise to MasterClass | true questions and Pass4sure dumps

    Will Wright is one of the most iconic creators in gaming. He’s accountable for notable games such as SimCity, The Sims, and Spore. He’s furthermore working on a fresh mobile game, Proxi. And now he’s going to live teaching others his design process.

    Wright is creating videos for MasterClass, a site that hosts online lessons from experts in their field. For example, you can learn comedy from Steve Martin, cooking from Gordon Ramsey, and tennis from Serena Williams. You comeby access to these videos with a $180 a year subscription.

    That’s an impressive list of celebrities, and Wright rightfully (heh) belongs in their company. He is hosting a total of 20 lessons, each about 10 to 20 minutes long, combining for over 4 hours of teachings.

    We had a desultory to talk with Wright about the creation of his classes, what they will cover, and his history in game design.

    GamesBeat: Why comeby involved with MasterClass?

    Will Wright: Well, the opening came up. I’ve given a lot of talks over the years about games and game design, but never really comprehensively, beginning to end, total about game design. It helps me corral my thinking, figuring out — what is the overview? What are the subjects I should cover? What does game design beofvalue to me? What does it encompass? I’ve probably learned more about it than the students will.

    GamesBeat: Are you focusing on any specific benevolent of game making? Or is the course more broad than that?

    Wright: It’s very broad in terms of — I’m trying to comeby into the profound fundamentals of it. It’s not so much how to program in Java, that benevolent of thing. In fact, I’ve always institute the technology side to live fairly straightforward. Not quite boring, but straightforward. The Interesting fraction to me has always been, how achieve you hack the player’s psychology? That’s the fraction of the system that’s Interesting to me, and that’s what a lot of the class focuses on.

    GamesBeat: What was the filming undergo devotion for this?

    Wright: Well, it was very professional. You had at least 50 people running around doing lighting, makeup, this and that and the other. It was very professional. But luckily I actually had a friend of mine, Amy Jo Kim — she was helping focus the discussion with questions and things. She’s a game designer as well. She knows me.

    I arbiter once they actually started filming, the lights went on and those 50 people just disappeared. It was really just Amy and I having these profound discussions about game design.

    The original black-and-white SimCity for Mac.

    Above: The original black-and-white SimCity for Mac.

    Image Credit: Maxis

    GamesBeat: Looking back at your own career, what is  the toughest challenge you faced as a designer?

    Wright: Well, the challenge is always, how achieve you deconstruct the player’s imagination and device out how to employ that to your advantage? Other formats — Hitchcock was a master of that. He’d rotate your imagination against you. The scariest stuff in those movies was the stuff you didn’t see, the stuff you imagined.

    For a game designer, it’s how achieve you capture somebody’s imagination so they want to promote into your world and achieve things and feel accomplishment? They feel devotion it’s Interesting enough that it’s a area they can live creative. I arbiter that I continually learn about how people think, what motivates them, what interests them. That’s probably always the toughest part.

    GamesBeat: Making games, you can arbiter about it as systems, code, and mechanics, but you appear to approach it more thinking about the player first, their expectations, and working around that. Is that honest to say?

    Wright: Yeah, although there actually is fraction of the class where I Go pretty profound into systems design, why systems — different metaphors. Network systems, system dynamics, and how you pick these mechanical things and try to create emergence from them, so that cool, interesting, surprising things will promote out of these.

    GamesBeat: Who achieve you imagine the class will live for? Is it for budding game designers, people who are maybe in school prerogative now? Or elevated school students who are thinking about this as a field? What benevolent of audience achieve you own in mind?

    Wright: I arbiter it’s pretty broad, but I arbiter it’s more focused toward people who are seriously into this. These might live people who learn a bit of coding. They’ve made a few petite games or whatever. They’re starting to understand the mechanical aspects of it. Now there’s this wide open landscape in front of them. What achieve I do? How achieve I arbiter about this? For those people who are ready for that step, this is going to give them a artery to arbiter about the whole field.

    And even people outside of game design can learn a lot about user psychology for product design, interactive design of any kind. A lot of what I cover is very applicable to that as well.

    GamesBeat: Is there a solitary project of yours that stands out as being the most difficult to drudgery on in your career?

    Wright: Oh, gosh. I’d notify maybe The Sims, because I spent seven years trying to sell that, sell the belief to people. Nobody really got it, so I took a guerrilla team and just programmed it. That was challenging not so much on the programming and progress side. It was more, how achieve I pitch this so people will understand it? Spore was an incredible technical challenge. There were so many technical things to overcome with Spore.

    Above: The Sims.

    Image Credit: Maxis

    GamesBeat: Most of your career was in PC gaming, and prerogative now you’re working on mobile. Has that changed your approach to design at all?

    Wright: Yeah, I arbiter it’s changed the progress process quite a bit. You attend to deal with much lighter, smaller code bases that you can iterate on and update. You can actually learn a lot more in progress from the players, because you can build something out there, let people employ it, and continually own it evolve. It changes the progress process a lot. I arbiter the fundamentals of how you engage a player’s imagination are pretty much the same, though.

    GamesBeat: From when you started working on SimCity, compared to making games now, what has changed about your process?

    Wright: My first couple of games I did total by myself. I did art, sound, music, graphics, everything. With Spore they had 135 people working on it. It’s quite a bit different when you’re managing a huge team devotion that. I arbiter that — back then, also, I felt — in the early days, the primary limitation was technology. I wish I had better graphics. I wish I had more memory. I wish I had a faster processor.

    That total started evaporating about 15 years ago. Now I don’t feel devotion there are any true meaningful limitations build on me by technology. Pretty much anything I can imagine, they can build.

    GamesBeat: Your games own always been much more systems-based. They’re not necessarily narrative-focus games. Are you giving any attention to the narrative elements of making a game?

    Wright: Actually, there’s a whole section about that. The gist of it is that I arbiter games and memoir are two sides of the same coin. Somebody who really wants to live a storyteller, there might live other formats that are better for you. The best stories I’ve ever experienced or heard of in games were the players’ stories, the things that uniquely happened to each person, what they did.

    Those are the ones that people really share and are arrogant of and want to talk about. I’ve really focused on that. How achieve you create systems where chilly player stories emerge from that?

    Above: Will Wright teaching game design.

    Image Credit: MasterClass

    GamesBeat: How did you learn to design games? Was it just an undergo thing? Was there somebody who taught you?

    Wright: Back then there was nobody teaching game design, so it was pretty much — fail. [laughs] Learn by failure. I learned a lot from my early games. Some of them I deem benevolent of noble failures, devotion SimEarth. I learned some very valuable lessons that helped some of my later games live more successful.

    But also, in the early days, you’d Go to the Game Developers Conference and meet other developers. The first GDC I went to, it was attended by I arbiter maybe 80 people? The next one was maybe 300. Everybody knew everybody else. When you’re dealing with that petite of a community of people doing something fresh and creative, you share a lot of ideas back and forth. I learned a lot from other game designers.

    GamesBeat: You mentioned learning from failure. Is visitation and mistake soundless a immense fraction of game design for you today?

    Wright: Unfortunately, yes. [Laughs] There’s a section about prototyping where they cover that. How you basically fail snappily and learn from those failures very quickly, because — the whole time you’re designing something, you’re going down this huge tree of possibilities.

    You’re going to conclude up on one petite fork of that tree, but along the artery you’ll hit a lot of forks. You might remove the wrong fork and own to back up. To live effective, especially if you’re doing something fresh and unique — if you’re doing a better version of a first-person shooter you’re not going to undergo that nearly as much, but you’re not going to create something quite as creative either.

    Above: Spore lets you design your own creatures.

    Image Credit: Maxis

    GamesBeat: Let’s notify you’re a budding game designer. You design a game. How achieve you know your game is satisfactory before releasing it?

    Wright: Well, there are a couple of rules of thumb I’ve found. Even for games that I play, ones that I didn’t make. One of them is that games that are really good, even in an early stage, I find myself playing them in my head, even when I’m away from the machine. I’m playing Civilization or something devotion that on my computer, but when I’m not playing it, I’m soundless sitting there thinking about — when I comeby back to the game I’m going to achieve this next.

    In my intelligence I’m imagining what I’m going to achieve next in the game. And if it gets to a point where it’s in my head and I’m playing it in my spare time away from the computer, that’s a really satisfactory indicator. Or when somebody’s watching you play a game and they want to try it. They espy what you’re doing and they instantly want to engage and interact with it. There are a lot of indicators devotion that.

    GamesBeat: I imagine that when you start a project it’s probably easy to live excited about it. You own a lot of passion going in. As a game project goes on for a long time, is it difficult to hold on to that passion in the later stages of development?

    Wright: Yeah, it is. Especially — anything dealing with software, when you arbiter that you’re 80 or 90 percent done, you’re really halfway done. It’s always the case. You’re looking at this piece of code or this game or whatever. It’s almost done! I’m just about finished! But really you’re halfway done. That’s always been my experience. When you comeby to the point where you thought you were done, you learn a lot, and you own to Go back and test things and tune it.

    If you really want it to live satisfactory you own to own a lot of persistence at the end, especially with a big team, which has a lot of other links involved. It’s hard. It’s not something for the faint of heart. [laughs] I arbiter that’s accurate of almost any design field.

    Above: remove notes.

    Image Credit: MasterClass

    GamesBeat: Does your class Go into how to pitch or sell a game at all, or is it more focused on design?

    Wright: Well, I Go into, basically, how you sell it during the progress process. In other words, first you own to sell it to yourself. achieve I really want to achieve this? achieve I devotion it that much? achieve I want to invest my life into it? Then you own to sell it to the team that you’re building. You own to inspire them and comeby them on the same page and own them as motivated as you are. And then of course you own to sell it to whoever is going to fund it, the executives from your company or whatever.

    A lot of the stages at which you’re pitching this thing — nowadays you don’t even build a game in a box. You download it off the web. But it used to live that it came in a box. As soon as the player sees the box they’re playing the game in their heads, imagining what the game is like. It’s not just how you build ads out to sell it. It’s furthermore how you present the thing in a such a artery that somebody sees it and they can instantly start imagining playing it and it’s fun. That imaginary game, what they arbiter it is, is fun to play, and they want to try it.

    GamesBeat: You mentioned leading a team. Are leadership skills notable if you want to design a game these days, assuming you’re not going to design it entirely by yourself?

    Wright: Yes, and there are different dimensions to that. The most successful teams I’ve worked in, usually there was a very stout producer. In my case for a number of years it was Lucy Bradshaw. She was very satisfactory at the logistical side of managing people, hiring, day-to-day stuff, what you pretty much convene management.

    The other side of that is creative vision. A lot of companies would convene that a creative director. That’s a different sort of leadership position. But it has its own challenges. At that point you’re leading a creative team, but you’re furthermore interacting with people from what they could convene the management side.

    Above: Will Wright at GamesBeat 2013.

    Image Credit: Michael O'Donnell/VentureBeat

    GamesBeat: How much time did it remove for you to plot your MasterClass?

    Wright: Several months ago they started talking about it. I was giving them a lot of the material that I give in my talks and a uneven belief — they were coming back to me with profile ideas and they iterated back and forth on how they could structure the whole thing into sections and subsections. It was several weeks of figuring out the format of how to present the material and the profile of the material.

    But once you comeby me on camera and pick a subject, I’ll sit there and talk forever. [laughs] That fraction was easy. It was really more about the order and the structure of how they would present it.

    GamesBeat: During the class, are you going back to your own games a lot to indicate them as examples and references?

    Wright: Oh, yeah, definitely. And furthermore just talking about lessons I’ve learned from the games I’ve made. Things that worked and didn’t work, what made me elect to achieve it this artery instead of that way. I employ a lot of my own experience, just as an example. Of course, that’s not the only artery to achieve it. It’s just my style.

    GamesBeat: achieve you arbiter these videos would live Interesting to someone who is more just a fan of you and your games, who’s interested in your process? Even if they don’t intend to comeby into game creation?

    Wright: Oh, yeah. Quite a bit of it, really, is psychology. devotion a quarter of the whole thing is talking about psychology. I arbiter a lot of people would find that interesting, even gamers who aren’t quite realizing what’s going on in their head when they play a game. Again, there are a lot of other creative fields that could profit from this.

    One of the points I tried to design is that — I arbiter game design is maybe one of the most challenging design fields, because it incorporates almost any other sphere of design you could imagine. Things devotion storytelling, architecture, set design, art, sound, music. total these things are fraction of game design. I can’t arbiter of any other design sphere that’s quite as broad as game design.

    VR / AR Fundamentals — 2) Audiovisual Spatiality & Immersion | true questions and Pass4sure dumps

    Perhaps the biggest astound after Facebook acquired Oculus in 2014 was how VR video stole the show. elect your metric — press, festivals and art shows, the popularity of non-interactive mobile VR hardware devotion Google cardboard and non-interactive cinematic apps devotion Jaunt and Within — most of the generic public’s first VR undergo was a VR documentary, a DIY artwork, or a corporate-sponsored short. Gamers were infuriated. Oculus founder Palmer Luckey railed to me about a particular VR camera company “going into a dim tunnel with no end” and was public that “stereoscopic video” is not “3D video.”

    In a sense, Palmer is right. We’ll learn why, and why not, and what the tradeoffs are, and where the future lies, in today’s session.

    Stereoscopic & Stereophonic Displays Fooling two static eyes and two static ears looking at a framed image

    Last week they overviewed audiovisual resolution and fealty from a solitary framed source to a solitary stationary eye and ear. That’s far from how they normally undergo image and sound. Now, let’s overview what it takes to fool both eyes and both ears with a stationary head and a framed representation.

    Parallax & Disparity

    The first thing to understand about stereoscopic displays is that they own two eyes, so they espy objects in front of us from slightly but significantly different angles. This incompatibility is called parallax. Disparity, particularly binocular disparity, without splitting hairs in this context, means the same thing.

    As they relate to VR and AR, parallax and disparity vary with distance: when they eye at things close up, parallax and disparity are more pronounced, and they we eye at things far away, they fade to zero. Indeed, when they eye out of an airplane from 35,000 feet at the ground, both eyes espy exactly the same thing.

    So if you’re making a VR travelogue consisting of far-off mountains, skylines, and helicopter shots, stereoscopy is unnecessary. For practically everything else, stereoscopy is essential, especially for anything “within arm’s reach” (one reason they own two eyes) or for anything intimate, devotion people close up.

    The most under-appreciated feature of VR and AR headsets is how awesomely satisfactory they limn close-up imagery, much better than theater-based stereoscopic (3D) movies. Hollywood has long known that it’s best to sustain 3D imagery at or behind the screen and to rescue imagery in front of the screen for “gotchas” devotion blood, bats, and broomsticks. The individual displays for each eye in headsets overcome this “big screen close-up 3D” problem. The VR games community knows this, and consequently much of VR game imagery is literally in your face.

    Generating stereoscopic images from 3D computer models is a no-brainer. But, as we’ll soon learn, it’s far from trifling for camera-based VR imagery.

    Interpupillary Distance

    Interpupillary distance, or IPD, is simply the distance between their two eyes. They espy IPD on their eyeglasses prescription so the lenses can live properly centered on each eye. IPD varies widely in the generic population, from around 50 to 75 mm, with a slight gender incompatibility (62 mm for female and 64 mm for men, on average).

    High-end VR systems devotion the HTC Vive and Oculus Rift, and AR systems devotion Microsoft Hololens, own IPD adjustments on their headsets. One reason is to maximize the amount of light going into their eyes. But many in the VR and AR tech communities insist that custom matching IPD is essential for perceptual reasons. Imagine having a VR undergo with eyes narrower or wider than yours!

    Does it matter? If so, are the lower-end VR and AR headsets with no IPD adjustment, devotion Google Daydream and Samsung Gear VR, doing more harm than good? Or are most people springy and proper if things are a petite off?

    Here’s an Interesting data point.

    Children’s exhibit by Edwin Schlossberg for Macomber Farm, 1981

    “I’m Seeing devotion a Sheep” is a non-electronic exhibit simply consisting of two short periscopes turned sideways. Looking through the exhibit changes your IPD to that of a sheep, much wider than ours. I’ve done it, and the handle is fierce and mesmerizing, and difficult to describe: everything looks “more 3D” or “closer but not bigger.” On the one hand, it’s pretty weird. On the other hand, most peoples’ eyes proper and Enjoy the experience.

    I’m partially of the “let ’em adapt” school for many VR and AR applications, especially to cheer extreme and artful experimentation. At the same time, I own and respect the drudgery in the labs quantifying such variations. Both are notable at this early stage.


    Convergence is the natural movement of their eyes inward to “fuse” near objects. With VR and AR displays, left and prerogative images must live properly aligned for proper convergence.

    Most people can feel when their eyes converge on near targets

    Convergence and accommodation are often referred together as the pillars of stereoscopic imaging.

    So bethink in the Prologue, I asserted that the biggest question today regarding AR headsets is whether see-through opacity is doable? Here‘s an alternative scenario.

    You’re wearing AR headsets in your office or living scope and a close-up AR-generated image of an apple appears. The headset presents the proper left-right binocular disparity for each eye, and both images are left/right offset for proper convergence. And in the case of Magic Leap, the image of the apple appears focussed at the preempt distance, perhaps a half meter away.

    So, how much will you care if the apple is a petite transparent rather than opaque? The apple appears singular (properly converged) while the background appears double. The apple is in focus and the background is not. Maybe you won’t care. Maybe it’s an attention thing.

    Stereo & Binaural Sound

    Most everyone has heard stereophonic sound, from speakers and earphones, and they easily understand how stereo can design a sound source loom spatial if it sounds louder in one ear than the other.

    It turns out that when a sound source comes from the right, not only does the prerogative ear hear it louder, the prerogative ear furthermore hears it earlier. Their audio processing and brain are extraordinarily sensitive to the microsecond differences. This speed, or “phase difference,” is the definition of binaural sound. Hearing A-B comparisons between stereo-only and binaural sound is intelligence blowing, particularly, as you may guess, for close-up or “intimate” audio, devotion someone whispering in your ear.

    It furthermore turns out that, because petite hasten differences are so perceptible, that inner reflections around the shape of their ears handle where they hear a sound coming from. devotion interpupilary distances of their eyes, they own different ear shapes, and different head sizes, shapes, and densities. The sum total of these differences is called the head-related transfer function (HRTF) and is, devotion IPD, measurable over big populations, albeit more complicated.

    Neumann KU 100 Binaural Dummy Head

    Also devotion IPD, many insist that HRTF is essential to comeby prerogative for each person, otherwise the sound will sound “misplaced.” Binaural sound can live synthesized or it can live digitally added to pre-recorded sound. The most common artery to achieve binaural sound is to record with binaural mics, petite microphones worn in the recordists’ ears. Another artery to record binaural sound is with a specially made binaural dummy head, whose physical characteristics match an medium head. Professional binaural dummy heads are not cheap, and some experts title they can hear differences between them.

    Multiscopic & Multiphonic Displays Fooling stirring eyes and ears looking at a framed image

    So now they understand how to fool both eyes and ears to believing a representation is indistinguishable from the true scene, but without stirring the head and only looking at a non-panoramic, framed image. Freeing the head to lumber around, even a bit, is even more complicated.


    I polled my class “how many of you own seen a hologram?” Almost everyone raised their hand. Then I described what a true hologram is — a recording of the interference patterns between coherent “reference” light and the same light reflected off of an image — and what it can and cannot do, and asked the class again. The number dropped to two.

    Concert size holograms are not holograms.

    Humans recorded by many cameras pointing at them to design 3D computer models are not holograms.

    “Projected” holograms, where the image appears “in thin air” not in the line-of-sight with the hologram itself, are not holograms.

    Immersive displays that employ “holographic lenses” (Microsoft Hololens) or “holographic reflectors” (Intel Vaunt AR glasses) to channel otherwise 2D images are not holograms.

    My objective is not to live the hologram police; bigger battles exist. There are, however, two unique defining features of actual holographic displays that, if they’re missing, it’s honest convene it out.

    One is per-pixel focus, meaning, devotion in the true world, when their eyes fixate on any fraction of any thing, they accommodate, or focus, on it. When they eye at a face close up, the nose is a different distance than the ears, and their eyes will accommodate accordingly.

    The other feature is accurate multiscopic viewing where total viewpoints of the image can live present and visible at the same time: no necessity for glasses. devotion looking through a window, when they bob their head up and down or left and right, the view changes accordingly. If they mask off total but a tiny spot on the window, they can soundless espy total viewpoints by stirring their head. That requires a lot of images for each tiny spot, on the order of thousands of times more than for a solitary pixel. While stereoscopic displays simply require twice as much data as monoscopic displays, holographic displays require thousands of times more data to array total viewpoints.

    Light sphere Lab recently announced a holographic monitor with per pixel accommodation and where total viewpoints are visible. The current prototype is only 4 by 6 inches. The source imagery for this powerful petite window can live generated from 3D computer graphics or it can promote from a camera, but a pretty badass one devotion we’ll espy below.

    Light Fields

    A light field, devotion a hologram, has a specific technical definition — a 4D set of rays hitting every point of the surface (u,v) arriving from every direction (theta, phi) — which can allow seeing every viewpoint inside or in between the set. And devotion holography, “light field” is being used pretty snappily and loose. One reason may live that it’s easy to arbiter of it generically, “fields of light,” unaware that it’s actually a science. And to the credit of several of my colleagues, I’m hearing “light fields-like” to own that there are things devotion light fields that are not light fields. (Oddly, they almost never hear “hologram-like.”)

    Light fields can live computationally derived from 3D computer models or they can live recorded with cameras, lots of cameras.

    Paul Debevec, from Stanford SCIEN Workshop on Light sphere Imaging, 2015

    A light sphere with a camera array devotion this can provide every viewpoint within the sphere. The more cameras, the more resolution, but at a cost of data size.

    Volumetric Video

    Volumetric video can best live imagined as pixels in 3D space rather than in 2D space. These 3D pixels are sometimes called Voxels or Point Clouds.

    This is a satisfactory jiffy to interpolate Depth Maps, an additional “depth” channel, sometimes called “Z,” to the conventional red, green, and blue image channels, so where each pixel has an RGBZ value. This Z channel can live actively measured, devotion by using an infrared camera and sensor as in the case of the Microsoft Kinect, or it can live passively computed by matching features and flows using multiple cameras.

    Depth maps, where white is close is black is far

    Depth maps allow RGB pixels to live “splatted” out in the Z dimension to design a 3D “point cloud” model, allowing 3D navigation around it. But there’s a petite problem with only one depth map: when stirring around, sometimes “nothing,” or occlusions, may live seen.

    Early illustration of a 3D point cloud made via a depth map derived from a stereo pair of images

    Occlusions can live filled in either by interpolation or by additional data, devotion from other viewpoints. Both are lively areas in volumetric video today, roughly aligned with Hollywood taking the lots-of-cameras approach and Silicon Valley (and noteworthy, Seattle) taking a computational approach.

    Spatial Sound

    In the context of VR and AR, spatial sound is when sounds seemingly emanate from particular directions or locations. Using head tracking, these sounds can loom to “stay put” as they lumber their head around. Thus, spatial sound in headsets are significantly different from home stereo and 5.1 sound systems.

    “Ambisonic sound” is a common spatial sound format for VR and AR, adding “full sphere” directionality. Controlling amplitude or loudness of sounds at different angles in the sphere may approximate closeness or proximity of the sound.

    Better is when the ambisonic or spatial sound is furthermore binaural, where sound locations can live additionally represented by phase or slow from one ear to the other. Several binaural ambisonic sound formats are emerging.

    A noteworthy alternative for VR and AR spatial sound is the employ of many loudspeakers, for example, one for each sound source, in area of earphones and head tracking (which will betide “automatically” when one turns one’s head). Many loudspeakers may live a satisfactory solution for “VR theaters” or location-based venues, where each audience member wears a VR or AR headset but can sustain their ears uncovered.

    Panoramic Displays Fooling stirring eyes and ears looking all around

    So now they understand how to “look through a virtual window” pretty well. They know about the resolution and fealty for image and sound, and they know how to fool both eyes and ears even when the head can freely lumber around. How can they now expand from framed to unframed, and fool the eyes and ears in an immersive panorama?

    The word “panorama” was coined by British painter Robert Barker in 1792 to record his novel artery to paint cylindrical landscapes, and by the mid-1800s, largescale panoramas, housed in dedicated architecture, were a common figure of “being” somewhere else.

    Giant painting, elevated platform, and soft overhead light

    Panoramic photography followed shortly after the birth of photography, and panoramic cinema followed shortly after the birth of cinema. Here we’ll handle upon apropos elements for VR and AR today.

    Monoscopic Panoramas & No-Parallax Points

    The simplest artery to design VR or AR panoramas is with a monoscopic, or 2D, representation. There will live no stereoscopic 3D since both eyes espy the same thing. Most VR video shot today is with monoscopic panoramic cameras. The solitary 2D representation can live treated devotion conventional video in the editing and post-production pipeline, albeit where each video frame is a 360 by 180 degree “equirectangular” image.

    To cover the replete panoramic sphere, more than one camera is required: two 180 degree cameras, three 120 degree cameras, up to rigs sometimes containing ten or more cameras. The attraction to many cameras, and immense ones, is resolution and fealty (which is why they spent the entire first session on this).

    But many and immense cameras present a problem: in order to own a singular viewpoint, total of the cameras must shoot from the same viewpoint, otherwise there will live discontinuities in the image. This point may live called the no-parallax point (often erroneously called “nodal point”) and the further these point are offset from each other, the more the discontinuities may show, particularly for close-up objects. This is what’s referred to as “stitching error.” The heart-broken verisimilitude is that 2D panoramic cameras with parallax offset can result in fundamentally unfixable error, particularly for near-field imagery.

    Some mistake may live fixable by interpolation and of course everything is fixable painstakingly by hand. Either way, a lucrative fresh VR sub-industry has developed to fix VR video made with big, offset cameras used for their elevated resolution and fidelity.

    The VR headset makers are frustrated because the imagery isn’t 3D or even stereoscopic, a key selling point for VR in the first place. Many VR producers shoot monoscopic panoramas because they’ve heard that stereoscopic panoramas are even more problematic. It’s a chicken-egg situation.

    Stereoscopic Panoramas & Head Rotation

    Stereo panoramas are a stereo pair of 2D panoramic images. Many deem them a sweet spot between flat, 2D monoscopic panoramic images and the very big data needed for multiscopic panoramas. They provide stereoscopic 3D and only require twice as much data as monoscopic panoramas. The tech giants know this, as well as a flurry of startups.

    Stereo-panoramic video cameras. total are less than 5 years old.

    Stereo-panoramic video is indeed stereo and panoramic, and to many the resulting imagery looks very much “like being there.” But looking around in VR or AR with stereo-panoramic video is not exactly the same as how their heads lumber and rotate.

    Stereo-panoramic cameras tumble neatly into two categories: paired and unpaired, referring to lens arrangement. Paired cameras, whether one pair (VR 180), two pair(two Ricoh Thetas side-by-side), three and on up can live viewed raw and easily assembled, but with total of the artifacts concentrated on the perpendicular seams, which can live hand-fixed to some extent. Unpaired cameras require computation to view anything stereo-panoramic. A satisfactory rule of thumb is that if the camera was made by someone without a PhD in Computer Science or a lab behind them, it’s most likely a paired camera rig.

    Our eyes are in front of the axis of rotation of their neck. This is a nice evolutionary feature which allows us to gain additional motion parallax (or own parallax with only one eye). Stereo-panoramic video, by virtue of being only two viewpoints, does not add any additional parallax.

    This is a satisfactory jiffy to bring up “3DOF” and “6DOF” in VR and AR systems. “DOF” stands for “degrees of freedom” and 3DOF means only having the 3 “rotational” degrees of freedom: pan, tilt, and roll. 6DOF means having the additional “positional” degrees of freedom: stirring left and right, up and down, and in and out (simply: x, y, and z).

    Stereo-panoramas, devotion mono-panoramas, are fundamentally 3DOF imagery. When the user looks left and prerogative or bobs up and down, there is no additional imagery that can accommodate. Computer-generated 3D models are 6DOF by nature — the virtual camera can live anywhere.

    To complicate matters further, high-end VR and AR headsets own the technology to present 6DOF “position” tracking, while mobile VR and AR headsets achieve not and only present 3DOF tracking.

    So when Palmer Luckey rails that “stereoscopic video” is not “3D video,” he’s referring to the limitations of stereo (and mono) 3DOF VR: it’s not devotion true head movement.

    Multiscopic Panoramas & Bandwidth

    Holograms, light fields, and volumetric video can live made panoramic in theory. But as by now you may guess, it’s not cheap.

    Last year Intel demonstrated accurate multiscopic panoramic VR video. The camera rig, made by Hype VR, consisted of 14 high-end video camera systems (the camera bodies lonesome totaled 70 pounds) spread their around a diameter of around 2 feet.

    The demo is dramatic. People in VR headsets can sway back and forth and up and down, total the while seeing the image update accordingly. The restrict of the sway is the 2 foot diameter of the camera rig. Unlike “room-scale VR” using 3D computer models, you can’t walk around beyond what the camera shot. The cost?

    360 degree 6DOF volumetric video with a 2 foot sweep is currently 3 GB per frame

    That’s 1,000 times the size of professional-grade 4K video, and only to sway around a bit. It may sound excessive, but if you were Intel, wouldn’t this live your future?

    There’s a noteworthy irony here. bethink total of those monoscopic panoramic camera configurations with parallax offset resulting in expensive stitching fixes? It’s precisely that offset that may design these configurations pattern for multiscopic panoramic capture.

    Putting it all Together

    The Holy Grail for audiovisual spatiality and immersion is to forget about video playback, whether it’s 2D, stereoscopic, volumetric, pixels, voxels, frames, or “holograms” and build everything into a 3D computer graphics model. If total of the video can live moved into such a 3D model, looking around and stirring around becomes entirely unconstrained.

    Well, it’s not devotion I’m the first guy with such an enlightened thought.

    Camera-based and image-based modeling has a long moneyed history, and every year things progress further. The problems are big, and they are beyond “cartoonishness.”

    First, eye around wherever you are prerogative now and imagine making a 3D computer model of your environment magically using a camera. You can “sweep” the space to capture total the visual data (be confident to sweep under the table). Systems devotion this exist, as first popularized by Google’s Project Tango, and are at the core of emerging mobile AR developer’s tools. But what about motion? You can “flash” instead of sweep, using many cameras covering stirring objects from many viewpoints. Systems devotion this furthermore exist, going back to the camera rig used for the “bullet scene” in the Matrix. But for capturing motion in 3D in the true world, or even wherever your reading this prerogative now, you’d necessity a lot of cameras if you want to minimize occlusions.

    The bigger challenge is turning these “models” into models. Importing camera-based imagery into navigable 3D computer models differs from structure 3D computer models from scratch in that no semantic lore exists. When you build a chair or a tree or a character from scratch in a computer model, “it” (the computer) “knows” what it is. This semantic lore enables us to lumber the chair or sway the tree or fight the character. This information simply doesn’t exist in the pixels or voxels or rays of video.

    Making audiovisual material spatial and immersive is a first step. We’re getting pretty satisfactory at this.

    Moving spatial and immersive audiovisual material into 3D computer models is a multi-faceted challenge happening now. One facet is how Hollywood and cinema own different approaches and needs than Silicon Valley and games.

    Adding semantic understanding about the spatial and immersive audiovisual material in 3D computer models is perhaps today’s greatest challenge in this arena. The solution lies in crowdsourcing, immense data, and profound learning.

    Expect surprises some time soon.

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