@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
Saby Menyhei presented recreation of Rembrandt’s famous painting “The Anatomy Lesson of Dr. Nicolaes Tulp” in the Star Wars Universe, based on Nicolas Ky’s idea.
This amazing piece of art was modeled in Maya, textured in Substance Painter and Mari. He also used Arnold for rendering and Photoshop and Nuke for compositing.
I really enjoyed working on this piece, it was like playing with my favourite toys. I had to watch the movies again to get inspired, and I was lucky enough to study the original props at the Star Wars Identities exhibition.