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All games are copyrighted or trademarked by their respective owners. Contact Us Privacy Policy. If you have not done it already, you should open the project and walk around.

You will notice the trees and all the grass around shaking when you hear large gusts of wind hit your surroundings. When targeting the level of detail and density of a project like Book of the Dead , it was important for me to think about how I was going to structure the level, to avoid performance issues later in production.

One of the things I tried to be careful about, was to limit long view distances in the scene. This video shows the Occlusion Culling Visualization, and you can easily guess where the camera is looking at from the top view.

You will also be able to see that some objects are not culled, those are mostly the really tall trees, some over 25 meters tall, that have a very large bounding box and are therefore hard to cull behind the cliffs.

The HDRP Layered Shader allows blending of layers using their heightmap texture, so the result is better than the linear blend that comes with the legacy terrain shader.

In this animation, I am simply changing the different layers height offset. This is, of course, a temporary solution, and not properly integrated in the UI.

These layers are there mainly to help you paint the different layers on the terrain. They are not used for rendering the terrain, except for the tiling settings.

Instead, look for the material applied to your terrain, and you will find all the textures and the material properties that affect the terrain.

If you want to create a new terrain and apply different textures on it, you will need to duplicate this TerrainLayeredLit material and assign it to your new terrain.

You will also need to create those 4 textures sets in the Paint Texture tab. It is also there that you can change the tiling properties of the different layers.

Also, to be able to fully use the LODGroup feature, all of the assets placed through the terrain are setup as Trees, and not detail assets. But actually, this project has a really high amount of assets scattered on the ground: grass, bushes, plans, wooden twigs, rocks, etc.

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.

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