@Tristan: I studied computergrafics for 5 years. I'm making 3D art now since about half a year fulltime, but I had some experience before that. Its hard to focus on one thing, it took me half a year to understand most of the vegetation creation pipelines. For speeding up your workflow maybe spend a bit time with the megascans library. Making 3D vegetation starts from going outside for photoscanns to profiling your assets. Start with one thing and master this. @Maxime: The difference between my technique and Z-passing on distant objects is quiet the same. (- the higher vertex count) I would start using this at about 10-15m+. In this inner radius you are using (mostly high) cascaded shadows, the less the shader complexety in this areas, the less the shader instructions. When I started this project, the polycount was a bit to high. Now I found the best balance between a "lowpoly" mesh and the less possible overdraw. The conclusion of this technique is easily using a slightly higher vertex count on the mesh for reducing the quad overdraw and shader complexity. In matters visual quality a "high poly" plant will allways look better than a blade of grass on a plane.
Is this not like gear VR or anything else
Alex Stroukoff has shared a talk that he, Alejandro Martinez and Pascal Beeckmans gave at MIGS 2017 on using Houdini for the production of AAA mobile games. The thing is that the talk discussed a range of ways developers use the tool by SideFX nowadays.
“We worked hard to make this talk for the 2017 MIGS to share our great experience with Houdini. We thought it was a very good example of showing how you can use Houdini in a game production in a multitude of different ways,” said Alex Stroukoff.
Among topics covered are procedural backgrounds, rocks formations (displacement techniques), vegetation tools, shatter effects, and more. We mostly talk about using Houdini for games for PC games or console titles, but let’s learn more about mobile cases this time.
Make sure to discuss the talk in the comments below.