Rock Garden Yard 60

Landscapes of Virginia | Virginia Museum of History & Culture

His interest in photography, music, and traveling led him to experiments in UE4, and he started to create short interactive exploration projects for desktop and VR like Castle Rock Beach, West Australia. Learn more about Matt's environments. I was also able to revisit the real location soon after I started coastal landscaping va 45 project, which gave me a wealthy collection of reference photos to work. Using heightmaps and other landscape tools can be helpful for quick and realistic results, but I often find I need something more specific.

The environment was made almost entirely from ready-made assets coastal landscaping va 45 Quixel Megascans and the UE4 marketplace, all of which were optimized and repurposed to represent the Australian landscape, coastal landscaping va 45. My approach here was similar to the one used in the Kyoto sceneso I'll just quote it:.

I keep a relatively simple master material design that I use coastal landscaping va 45 all of my instances, which helps me tune colours on the fly.

This short string of nodes is what I have consistently included throughout my master materials. The biggest challenge in this project was including as much foliage as possible while keeping everything optimized. I was able to figure out a distance fade method that was incorporated with temporal AA, which allowed me to have seemingly unnoticeable fade transitions for distant foliage.

With this method, I could focus on close-up detail with a large performance headroom, as I could get away with much closer draw coastal landscaping va 45 than usual, coastal landscaping va 45. I tried to add as much variation as possible with the foliage and included billboards for a lot of the larger models so everything still looked dense at a distance. I tested out several lighting setups, including a combination of baked shadows, but ended up going with an entirely dynamic solution with distance fields and contact shadows.

The distance fields allowed me to extend my shadow distance with a minimal performance cost, and the contact shadows improved the close-up detail and helped me to make the groundcover look more prominent.

I also implemented a solution that changed the quality of cascaded shadows depending on where the camera is in the scene. The VR version ended up requiring much more work than I expected. I also replaced all tessellation materials with a Parallax Occlusion based alternative, this allowed me to get surprisingly nice detail on surfaces without the usual tessellation performance cost. It was a huge challenge to make the project fully optimized without being too aggressive on quality, so I tried to settle on a balance between the two, as I still wanted the game to run on base-level VR hardware.

Because of my previous experience in making such environments, I was definitely able to refine my process this time around and avoid tasks that would usually be very time-consuming. Being able to import all master materials from previous projects definitely helped a lot, as well as just having a good grasp on the ideal lighting and post-processing for the scene, so I didn't have to spend too long adjusting the details. While the scene did take a long time 9 months on and offI tried to budget a certain amount of time for each task to avoid working on one aspect for too long.

I knew I would have to make compromises here and there, coastal landscaping va 45, so I just tried to bring everything to a level that I was happy with and not to tamper with it much. Not feel too exhausted, I try to convince myself that the stretch goals and finer details are worth saving for the next project. We use cookies on this website to make your browsing experience better. By using the site you agree to our use of cookies. Learn. In case you missed it Read our previous interview with Matt.

Here's a short timelapse video that has some footage of landscape sculpting:. Organic Assets The environment was made almost entirely from ready-made assets from Quixel Megascans and the UE4 marketplace, all of which were optimized and repurposed to represent the Australian landscape.

Materials Sand � This was a tessellated vertex blend material. I blended between two main surfaces, one of which has a low-roughness variation for the wet shoreline, so there are tree surfaces to paint with in total. An RGB representation of the vertex painted sand material:.

The world aligned tessellated texture on a 3D model placed just above the landscape:. Landscape � A simple blend between 4 surfaces. I included some flat meshes with a coastal landscaping va 45 texture on top to give 3D depth, and used world aligned UVs to help the overlying mesh blend with the landscape, coastal landscaping va 45. I used this only coastal landscaping va 45 some detailed areas of the map, as opposed to using a tessellated material for the entire landscape, in order to keep the low performance cost.

Vegetation The biggest challenge in this project was including as much foliage as possible while keeping everything optimized.

Material nodes used for the smooth fade transition:. Afterword Because of my previous experience in making such environments, I was definitely able to refine my process this time around and avoid tasks that would usually be very time-consuming. Keep reading You may find this article interesting.

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