梦工厂动画公司 (DreamWorks Animation SKG, Inc.)是一个总部位于美国加利福尼亚州格伦代尔的动画工作室。公司于2004年由梦工厂工作室的动画部门分拆而成立,同年在纳斯达克上市。公司影片曾经由派拉蒙影业负责发行。2013年起,由20世纪福克斯发行。2018年起,由环球影业发行 。 公司从事动画制作,如动画电影、电视节目和短片等。知名作品有:《怪物史莱克》系列,《马达加斯加》系列,《功夫熊猫》系列,以及《驯龙高手》和《疯狂原始人》等。最新作品为《雪人奇缘》 。 据时光网消息,NBC环球38亿美元收购梦工厂动画,后者将并入环球电影娱乐集团。
On the named Prisoner's Dilemma under direct prompting, three larger instruction-tuned models, Llama-3-70B, Qwen2.5-32B, and Qwen2.5-72B, lock at full cooperation, the metric's maximum distance from Nash with zero variance across replicates, while Llama-3-8B plays near-Nash. Opening the models, a logit-lens analysis finds a distributed cooperative override. Intermediate readouts lean toward the Nash action through roughly three quarters of network depth before a late surge toward cooperation, and the final layer settles the contest. The size of that final correction, not the surge, rank-matches chain-of-thought behavior across scale and two architectures. In the 8B the override is a single causally controllable direction in the residual stream; steering it dials the decision, and clamping its component at one position of one layer moves the choice strictly monotonically, Spearman rho = 1.000, with generation fluent. The circuit is lexical. It survives name removal and payoff rescaling but disengages when Cooperate and Defect are replaced with neutral labels, and on 48 payoff-random games with neutral surfaces no model locks cooperative on any dilemma or shows general equilibrium competence. In mixed-model populations a single Nash-playing agent collapses cooperation contagiously. What suppresses Nash play in large language models is a word-triggered circuit rather than missing competence, and it can be measured, bounded, and controlled.
Skin Wrinkle is a custom deformer tool at DreamWorks Animation that produces wrinkles in the animated skin mesh geometry solely based on the incoming animated skin mesh, rest skin mesh, and artist specified parameters. This wrinkle effect on characters that exhibit dynamic folds enhances their look and animation performance. The deformer minimizes loss in body volume as the skin wrinkles and also performs continuous self collision detection and resolution to handle the tight wrinkles. Skin Wrinkle is time-independent, fast, robust, and controllable, thus making it very artist-friendly.
ENVIZ is a toolset at DreamWorks Animation that uses the power of the GPU for both interactive deformation and visualization of environments in the 3-D viewport. It replicates the final rendered hi-fidelity motion, and reacts to material shaders and lights to produce a well shaded and lit scene. Meshes with millions of points can be deformed and visualized real-time in the viewport which can help the artist evaluate motion for a shot without having to run costly renders thus providing significant time and resource savings.
The DreamWorks Feather System is a toolset used to design feathered characters. It enables artists to manage all aspects of feathers from card layout through shot work by using intuitive tools and automated pipeline processes. While the previous system proved inaccessible for some due to its highly technical nature, these new developments have enabled dozens of artists to successfully groom characters and run their feathers in shots. An initial feather layout can now be created in a matter of minutes, with a suite of comprehensive tools allowing for further refinement and precise control over feather card layout, feather curves, and animated motion.
In the world of Kung Fu Panda 4, the transformation FX emerges as one of the central narrative elements, showcasing the primary power of the film’s key villain, the Chameleon. This effect imbues the character with a scary, unsettling, ability to morph into different forms, varying significantly in size and shape. It enhances the storytelling by allowing the chameleon to be ubiquitously present in various guises and places. Our FX team embarked on a journey to develop a robust transformation system capable of handling numerous characters. It had to be flexible enough to cater to the needs of a large group of artists and adaptable across a wide range of shots from dynamic kung fu action to close-ups with subtle camera movement. Additionally, this work involved cooperative efforts with multiple departments, such as animation, CFX and lighting, resulting in the creation of cross-department workflows.