@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
Jan Kaluza has shared a cool tweet on object-stabilized screen-space UVs. Basically, this is super useful for VFX. Edward del Villar made the same thing for Unity, but this one is for Unreal Engine users. The artist has also shared his material graph. Let’s learn something new! eg
And here's the graph: pic.twitter.com/o8x43tSSe4
— Jan Kaluza (@JKashaar) October 4, 2018
“Worth mentioning: this is FOV-independent. That was a major pain in the butt when I was trying to figure this out, and then – as always – found that a material function doing the thing I was trying to do already exists in the engine,” added the artist.
Make sure to check out more tips from the artist on his Twitter.