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Hi Amy! The first one I finished all by myself. I'm so proud. Am I the first one done? Now I really am proud of myself, lol. Thank you jessica.
My name is the same as yours, but ever since I was around 16, I spelled it that way for fun. Maybe this will help. In the scene with two guys shoting.
Two diff's are: 1 the man on the left pocket. With all of this, the terrain can be fairly simple, you can see below that in this particular shot the terrain is just a simple tiling material.
When you walk around the level, you will notice in places a very large amount of small twigs and pinecones scattered on the ground. Those are not really that obvious when you simply walk around the level, but they really bring the level of detail of the scene when you start looking at the ground.
There are sometimes hundreds of tiny twigs on the ground, between rocks and dead trunks, just like they would eventually rest if they fell down from trees.
Placing these by hand would be simply impossible, it is for this reason that Torbjorn Laedre made a tool to help us scatter those small details in the level.
The twigs are simple cutout planes with an alpha material. We added physics capsule colliders to them. The script will first spawn the desired quantity of those scatter objects around a transform position, and then simulate physics for them to fall down on the ground, colliding with the terrain and all the others assets rock, dead trunks, etc.
Side note about this tool: For the twigs and other scattered objects to fall properly on the ground and other assets, you will need to have quite high-density mesh colliders on all the assets in the scene.
For this reason, most of the assets in the scene have two different colliders: One light to be used at real-time in play mode by the PlayerController with the Default Layer assigned.
The Book of the Dead: Environment project is using baked indirect global illumination with real-time direct lighting.
Both the indirect lighting from the sun and direct plus indirect lighting from the sky is baked into lightmaps and light probes.
Reflection probes, occlusion probes and other sources of occlusion are baked as well. Direct sun contribution, on the other hand, is real-time lighting.
Shading in the HD Render Pipeline looks best when using real-time direct light, and it also gives us some freedom to animate the rotation, intensity and color temperature of the directional light at runtime.
Baked lightmaps are used mostly for the terrain and a few other assets, but we preferred to use a combination of light probes and occlusion probes for all the rocks and cliffs in the project, as they provide better results for objects with sharp angles and crisp normal maps.
Lighting a dense forest is something tricky to achieve in real-time. Using a single light probe per tree would give it uniform lighting from the bottom to the top.
Once it is set up, you will need to bake the lighting of the whole scene. The occlusion probes will be baked during that process. Each probe in the 3D grid samples sky visibility by shooting rays in the upper hemisphere, and stores it as an 8bit value going from fully occluded 0 to fully visible 1.
Probes unlucky enough to have landed inside trunks or rocks will be fully black. To avoid that darkness from leaking out, they are marked as invalid and overwritten by neighboring valid probes.
Since the probes sample how much of the sky is visible, they should only attenuate direct sky contribution. For this reason, the lightmapper is set up to exclude the direct light contribution from regular light probes, and then probe lighting is composed as light probe plus direct sky probe occluded by occlusion probes.
This way we can have tons of cheap occlusion probes sampling small details of how foliage occludes the sky, bring depth to the image, and very few more expensive light probes sampling slower changing indirect light.
If you want to have a clearer picture of how they affect the scene, you can also use the SkyOcclusion Debug view. The occlusion probe API for baking occlusion probes and excluding direct sky contribution from light probes has been added to Unity We ported and re-used the Atmospheric Scattering solution that we originally developed for the Blacksmith demo.
Our Senior Programmer Lasse Jon Fuglsang Pedersen has extended it to make use of temporal supersampling, resulting in a much smoother look.
It allows you to have materials with sub-surface scattering, or—like used for all our vegetation in this project—a more simple translucent material with only light transmission.
Note: Our team added additional sliders to control separately the direct and the indirect transmission to have more control over the final result.
Their function is to drive object properties depending on the position of the Main Camera object. Pretty much like the wild card in a game of poker. The most dry spins I experienced during the base game was 10!
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