@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
The Quixel team has shared a new guide to creating an amazing city material with the help of Mixer.
The new guide allows artists to dig deeper into creative potential, exploring sculpting, 2.5D modeling and PBR texturing right inside Mixer. The thing is that the video manages to show the true potential of the latest tool from Quixel. Basically, it’s pure gold.
The material was originally created by Wiktor Öhman as another mix in the street facade series. It was made entirely using Quixel Mixer and Megascans materials, all texture-based with the only geometry being the sphere/plane.
You can get more details here.