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It seems he's actually not ready for this. Today, we will focus on our partnership with Quixel, our wind system, scene building and content optimization tricks.
In case you missed it take a look back at the last three posts that go through the creative process for characters , concept art and photogrammetry assets, trees, and VFX within Book of the Dead.
I only joined Unity last year, but I have around 7 years of experience in the video game industry. This blog post will provide you some insight into the production of Book of the Dead from my perspective, the perspective of a content creator and an environment artist.
I am kind of new in the work of photogrammetry assets, but I remember clearly the day Quixel announced the creation of Megascans several years ago.
If you want to start experimenting with the tools discussed in this blog you can download the Book of the Dead: Environment project now. Download the project.
During the production process, the Demo Team created a list of the assets that they would need and Quixel would capture new assets if they were missing an appropriate match in their existing library.
Many of those assets were vegetation such as grass, plants, and bushes, that require proper equipment and setup to scan.
Quixel did not only provide us with texture sheets for those assets, but they also created the geometry, with their LODs and vertex color setup to support our wind shader.
Between the released Book of the Dead: Environment project, and the unreleased assets used in the teaser, we received over 50 assets of high quality and of complexity that would have seen us struggle to make our deadlines with the few artists we have on the team.
During the production, we could get the assets pretty quickly into the engine, and looking good. Luckily Quixel has recently released a tool, Megascans Bridge, that would do most of the importing work that we did manually.
It saves time in repacking textures for HDRP and the likes. All the assets are ready to be imported into a project setup with the High Definition Render Pipeline or the Lightweight Render Pipeline.
The creation of a wind system for vegetation assets and its whole pipeline is always a tricky process. There are many different kinds of vegetation assets that would need to be animated in different ways; two different trees might require completely different setup and different shader complexity.
For this reason, our team decided to create a custom vertex shader based procedural animation for the wind effect on our vegetation assets.
We made it tailored to work with our specific project and the trees or bushes it contains. Allowing us to have a complete control over it.
Torbjorn Laedre, our Tech Lead built a shader that would support several different types of vegetation, using 3 different techniques:.
The trees were the more complex assets to prepare, on the content side, they are using the Hierarchy Pivot type of animation and they rely on 3 distinct levels of hierarchy:.
The shader needs to know the level of hierarchy and the pivot of every single vertex of the tree. I first had to author the geometry of the tree itself, and then assign the level of hierarchy for every polygon of the tree using the green vertex color channel.
I did this using Autodesk Maya, with some small scripts I was able to set up all of the LODs of an asset in minutes. They are texture masks that would help determine where in the geometry the pivot of the branch be.
We used this for the branches that used hard alpha textures for geometry. Here is an illustration of this mask. With all this information prepared, I could use the C script that would input my tree prefab, and generate a new prefab with the pivot information of every vertex baked in.
After adding a WindControl object to my scene, I can import my tree in the scene, and start playing with the material properties.
You can see that each hierarchy level has a range property basically the length of the trunk, or branches and an elasticity property.
There are also some properties to set up wind flutter animation. They add a bit of procedural noise to the vertex positions, to imitate the vibration of the branches when the wind blows on them.
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