$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.
Chuck Doud believes most game developers neglect music in game development, and leave it until the very end. However, music not only helps add depth to a game, but it also completes the title as an overall package for player immersion.
Today, music is left for the last thing to be worked on when it should be at the forefront along with the rest of the development. Chuck Doud, the director of music at Sony Worldwide Studios, urges game devs to start their soundtrack production much earlier.
The music in games, he said, is a whole different experience, a completely different medium of which can suck in a player into the world of the game. He believes if you don’t put the music into consideration from the start, it will affect the potential for the game.
Doud brought up specific games he’s worked on to prove his point. Games like Journey, which had no dialogue but did an amazing job and pulling you into its world with an emotionally driven soundtrack.
And of course, he brought up The Last of Us, a highly rated game that was known for its musical score along with a fantastic storyline that made players feel like they were in a movie.
There was a musical piece called ‘All Gone’ that was used as the theme for Joel and Ellie and different versions of the song was created for interactions between the two for multiple scenes.
There’s one particular scene in The Last of Us in which Joel comes to Ellie’s aid and helps her escape a hospital in which she was held captive. Originally an action sequence, the scene was completely redone to match the emotional tone of an unused version of ‘All Gone’.
Doud said that too many developers fail in this area, but there are others that are starting to take notice and learn from it. Hopefully other developers catch on and make it happen.