@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
Do you love Ninja Theory’s Hellblade? It is a game that mixes both beautiful visuals and an amazing story. The thing is that this AAA-quality indie game was developed by a very small team. How did they manage to release such a title? Let’s find out!
In this 2018 GDC talk, Ninja Theory’s Dominic Matthews and Tameem Antoniades explain the approach used by their small team of 20 to build an AAA-quality project that is all about pushing the boundaries of narrative within gaming. The talk also focuses on the team’s approach to researching and collaborating around the subject of psychosis, in order to deliver a compelling and thoughtful depiction.
Did you find the talk useful? Make sure to discuss in the comments below.