@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
Concept artist Daniel Solovev shared an incredibly detailed breakdown of his sci-fi assault rifle ‘Omnitech AR-5A’ on ArtStation. Daniel did it as a demo for his online course “Weapon Concept Art for Games“. This is one of the most complex and sophisticated weapons you’ll find, so take some time to study this step-by-step guide.
Here is the final amazing gun:
The breakdown is a small glimpse at the artist’s “Weapon Concept Art for Games” online course. You can enroll in this course here. Please notice that this online course is only in Russian. And here is a little promo to help you decide.