Sentences with phrase «on visual assets»

Hence, the logistics of focusing on visual assets on modern gaming hardware may have reached a point where it is unsustainable.

By having a consistent theme on all your visual assets (color scheme, styles of text, filters on your photos, etc.), your most loyal fans will immediately think of your brand anytime they see that arrangement colors and fonts on their social media feeds (if the association you hold in their mind is positive, of course).

Not exact matches

Use them to drive more engagement for your organic posts, and be on the lookout for other unique visual assets you can use (e.g. Carousel ads on Facebook and Instagram).

On its own, this large asset is valuable to your audience but what about potential customers that prefer content in a more visual format?

I might even agree if I had a visual on what bringing in Romo would cost us in terms of other assets.

I think perhaps it works because the distressing adds visual interest or texture on the legs — an apple - shaped body's asset.

At the end of an involved and lengthy (some would say too much so) action set piece that dazzles the viewer with both visual skill and editorial expertise (thank you Christopher Rouse), Jason Bourne fixes in on his target, the elusive «asset,» a building away, closing in on the unsuspecting Nicky Parsons.

Many of the visuals (especially during cutscenes) lack extensive details on assets and characters.

The actors are the visual assets (photos, illustrations, bullet points, on - screen text, etc.) that will enter and exit the stage timed with audio as you specify.

It's a unique, mobile - first experience using bespoke visual assets allowing anyone to «visit» Hogwarts on - the - go.»

Portfolio allocation — Personal Capital creates a visual chart showing your investments by asset category and compares it to a suggested allocation based on a survey of your investment goals and risk tolerance.

If the trailer is to be believed, the visuals on display are using in - game assets and if the game actually turns out to look as impressive as what was shown above, then any debate about this generation being a significant step - up from the previous one can be laid to rest.

With a world created by Robert Kurvitz as ongoing source material and visual assets drawing on an oil painting look from Russian Realist painters, what have been the challenges in uniting these varied elements, and which parts «clicked» the fastest?

It's all part of the charm, and the core visuals are very closely matched on PS4 and Switch, with both using the same assets across the game - a benefit of the game's modest visual style and a perfect example of the kind of game likely to provide a very close graphical experience on Nintendo's new console.

The assets in the game are all simple, but very sharp, bright, and clean, making for an overall very attractive visual style that looks as good on a TV as it does in the Nintendo Switch's undocked mode.

The ideal candidate has strong visual design skills with an emphasis on high quality 3D asset creation in a rapid working environment.

It's a game that really tries hard on the presentation front, and takes great pride in its visual assets; boob jokes aside, the game runs and looks great.

As always on PC you expect more customisation when it comes to visuals and resolution settings, with the Special Edition also offering «a visible difference between this remaster and the vanilla 2011 release, with the landscape improved by new assets; plants, mushrooms, stones and extra trees are more liberally dotted around the initial Riverwood village», according to Digital Foundry, and additions to lighting making a significant difference.

Though it recycled a huge percentage of OoT «s visual assets in the name of saving development time, Majora's Mask managed to flip the heroic, grand scale of its predecessor on its head and put the character models to use in a scarier, more urgent and, in my opinion, more memorable context that still feels unique not only to the Zelda series, but to all of gaming.

• Follow the level design pipeline from «pen & paper» game designs to implement spectacular character based levels and ultra-fun gameplay mechanics • Work closely with level layout artists to identify level assets and gameplay direction to ensure visual and technical quality for the levels • Follow direction of Lead Level Designer to maintain gameplay vision consistency • Contribute to level concept, layout, implementation (camera, entity, etc.), prototype modeling, scenario creation, event scripting, game balancing, pacing, and gameplay tuning • Contribute to general game design, as well as cooperate with all other facets of game production (programming, environment / world art and animation) • Place and trigger entities (such as enemies, movers, and objects) to create fun, absorbing gameplay • Master internal tools for modeling environments and integrating game play • Rough out world geometry, camera paths, and lighting using 3D world - building tools • Assist with the scripting of gameplay entities and events • Creatively resolve gameplay and production issues • Meet production schedules and deadlines • Collaborate with Design team to define and refine gameplay mechanics • Multitask effectively, prioritize competing demands, and follow through on details

In terms of in - game visual assets and alpha effects, the game performs very similarly on both the PlayStation 4 and Xbox One.

A further study of one of the Philadelphia Museum of Art's (PMA) greatest artistic assets — its extensive collection of works by Marcel Duchamp — Dancing around the Bride traced the seminal artist's influence on the dance, music, and visual artwork of four equally protean figures: composer John Cage, choreographer Merce Cunningham, and visual artists Jasper Johns and Robert Rauschenberg.

2001 Jazz and Visual Improvisation, Katonah Art Museum, Katonah, NY Flora: In Reverence of Nature, Michael Rosenfeld Gallery, New York, NY Paper Assets: Collecting Prints and Drawings, 1996 - 2000, The British Museum, London, England Vital Forms: American Art and Design in the Atomic Age, 1940 - 1960, Brooklyn Museum of Art, Brooklyn, NY; Walker Art Center, Minneapolis, MN; Frist Center for the Visual Arts, Nashville, TN; Phoenix Art Museum, Phoenix, AZ 1950 - 65: Abstraction on Paper, Michael Rosenfeld Gallery, New York, NY

A logo is an easily recognizable visual asset that can (and should) be placed on all marketing materials.

When a game is installed on an Xbox console, it will detect what hardware is present and unpack the correct visual assets and features.

A friendly and approachable personality, a focus on sales growth, and a foundational understanding of visual merchandising strategies are assets in this position.

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It's no coincidence these professionals place a lot of their digital marketing energy on crafting highly appealing visual assets for their online strategies: Many people prefer to check out brand website pages that aren't entirely copy - intensive, but rather have a fair amount multimedia mixed throughout.