@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
Raju S has recently presented his amazing experiment with beach rendering which kind of makes you want to grab a towel and go sunbathing.
Here is the final simulation:
The artist created his assets for this scene with the help of Maya, Substance Painter, Photoshop, and rendered the whole thing in Arnold.
Some shots from the final piece:
The most amazing part? We would definitely mention waves. They look amazing with such complexity and dynamism. The ocean effects here are done by an artist’s friend (FX-TD Mr.Gobin) using Houdini.
Make sure to get more details on the project here. Looking for more? Here is another astonishing example of beach rendering we’ve written about before: