@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
Pixologic was kind enough to share a session with Blur Studio from ZBrush Summit. The talk covers the studio’s workflows along with some in-depth answers to nice questions. Join Damien Canderle, Frankie Derosa and Krystal Sae Eua for an action-packed 1,5-hour journey.
The members of Blur Studio discussed and demonstrated different aspects of the workflows for creating their iconic character models. They went over sculpting techniques, including using ZBrush to aid in hair creation. The team was also kind enough to discuss mindset and what it takes to really boost your artistic practice and ability.
The studio on some of the most stunning sequences for games which certainly makes this one a can’t-miss talk. Take some time, watch the video, and share your ideas with us.