$16 for a *very* non-performant material? If this was intended for use in high-detail scenes, not meant for gameplay, one would generally just use a flipbook animation, or looping HD video texture (both of which are higher quality and available for free all over). I love options, but c'mon, that's pretty steep. $5, maybe. And you can loop in materials, using custom HLSL nodes. Also, there are better ways of doing this, all around. Somewhere on the forums, Ryan Brucks (of Epic fame) himself touched on this. I've personally been working on a cool water material (not "material blueprint", thankyouverymuch) and utility functions, and am close to the quality achieved here, sitting at ~180 instructions with everything "turned on". The kicker? It's pure procedural. No textures are needed. So this is cool, no doubt about that. In my humble opinion though, it's not "good". It doesn't run fast, and it's more complicated than it needs to be.
Lee is right - you can use a gradient effect when you vertex paint in your chosen 3d modelling platform (I've done it in max), meaning the wind effect shifts from nothing to maximum along the length of the leaf/branch/whatever.
I'm fairly certain you can vertex paint the bottoms of the foliage and control the movement using vertex colors along with the wind node. I did this in an earlier project and was able to create a scene with grass that moved less and less as it went down until stationary. I created the grass and painted the vertexes black to red (bottom to top) in Maya.
Check out a workshop in Sherman Oaks (Saturday, February 10) that will cover tips and tricks from some talented environment artists from Naughty Dog. This is your chance to meet other like-minded artists, network, and learn from some of the best in the gaming industry. One of the hosts is Kirill Tokarev, so it’s also a chance to talk to our editor-in-chief.
1. 10:00-11:00 AM
Anthony Vacсarro, Senior Environment Artist – Naughty Dog
We are pleased to welcome Naughty Dog’s Anthony Vaсcarro, who will be doing a talk about the creation and process of how he built the large open environments of Madagascar from Uncharted 4 and the Western Ghats from Uncharted Lost Legacy. Learn from Anthony, as he goes over how the level designs were broken up into different sections. How each level was given a theme and a style. How to utilize large, medium, and small shapes to feather out your assets. As well as how to clump assets to reduce visual noise, how to focus on detail and lack of detail to highlight specific objectives. And how the use of color and materials for your environment reads to frame pathways through a playspace. There will be a Q&A after.
Boon Cotter, Senior Lighter – Naughty Dog
We also welcome Naughty Dog’s Boon Cotter, who will be discussing the technical and creative aspects of lighting for AAA games. Boon, will offer a high level, anecdotal overview of his creative process, including tips and tricks to achieve rapid good results that support the emotional and mechanical goals of game design. He will be using examples from Uncharted 4 and Uncharted: The Lost Legacy. Boon will walk us through the fundamentals of how lighting works in games. How to simulate and emulate the physical characteristics of light in a digital environment before jumping in and breaking all the rules for the sake of art.
Manny Fragelus, Program Director of CGMA / Modeling Supervisor
Will be discussing the future of the Environment Arts Program at CGMA.
Portfolio / Demo Reel reviews with:
Jake Virginia Senior Environment Artist at Respawn
Tragan Monaghan Environment Artist at Respawn