$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.
Faceware is a realtime mocap software and this month their tech is being brought to the users of Unreal Engine 4.
Faceware Live for UE4
Faceware Live is a markerless, real-time facial motion capture software which converts live video into facial motion data which can then be applied to a character immediately. This data can also originate at any video source, whether that be Faceware’s Pro HD Headcam System or a regular webcam.
Starting this month Faceware Live is available for all users of Unreal Engine 4. This is something that Peter Busch, the Vice President of Business Development at Faceware, and his team expect will greatly influence the world beyond the area of gaming.
The Unreal Engine has long had a corner on the high end of realtime rendering. This high-quality capability will allow our customers to do even more ambitious projects. The support we have received from the entire Epic team has been absolutely fantastic. Our teams share a common understanding of the power of a realtime production tool.
In the short term, Busch predicts that there will be a widespread usage in previz and virtual production. With a force of upcoming rapid production needs that are arising that goes well beyond gaming, the use for episodic and online content is seen. Busch said the most exciting market for them is broadcast television and Faceware is already in works for their first live action and realtime character television series.
For building the Unreal Engine plugin, Faceware worked with Melbourne-based Opaque Multimedia, the company behind the Kinect 4 Unreal plugin. Busch explained that Opaque has a great ability to create a plugin that is native to Unreal’s Blueprint system and straightforward for UE4’s user base. This also includes a more rapid roadmap.
Busch notes that Opaque’s connection in the VR and AR space is quite interesting for some of the more ambitious projects of Faceware.
A Purpose Served
Busch stated that users can experience the content creation pipelines of the future with the combination of Unreal’s power and advanced tech of Faceware. Both he and his team believe that the plugins will serve its purpose and more.