By Luke Ahearn
From a steamy jungle to a latest urban, or perhaps a sci-fi house station, 3D online game Environments is the final word source that will help you create AAA caliber paintings for various online game worlds. basically utilizing Photoshop and 3ds Max, scholars will discover ways to create life like textures from picture resource and numerous concepts to painting dynamic and plausible online game worlds. With distinctive tutorials on growing 3D types, using second artwork to 3D types, and transparent concise suggestion on problems with potency and optimization for a 3D video game engine, Luke Ahearn promises every thing scholars have the desire to make their very own reasonable video game environments.
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Additional info for 3D Game Environments. Create Professional 3D Game Worlds
You use distance fog to prevent objects from popping out by setting the far-clipping plane just beyond the maximum fog distance. Some game engines will automatically set a clipping plane if distance fog exists. While distance fog can be used to speed up a level, you should be cautious because there are many other forms of fog that are very expensive computationally and will slow things down. The other types of fog in a game world are volumetric and controllable in nature. Some types allow for the horizontal layering of fog, and still others can fill a specified space or volume.
Forced perspective Forced perspective is a trick used on stage productions and in places like museum displays to make an area look much larger than it really is. This involves simply taking what would be the real perspective lines of a scene and forcing them into a tighter angle. This takes up less space but looks the same—from the right angle. This technique has limited but powerful uses. 15, you can see that the player can only view this scene from a limited angle, so this is a good use of forced perspective to make the game world look much larger than it actually is.
You can look at the number of polygons on screen, and overlapping textures that may cause an inefficiency, and you can even see what the computer is drawing that we may not see as a player. 1, you can see that, while the player can’t see what’s on the other side of the wall, the game engine would draw it anyway because the radius of visibility can be seen by the player camera. 1 The pirate can be seen by the game engine but not the player. • • • • • • • • • • • • • • • • • • • • • Asset-based optimizations MIP mapping Texture pages Unlit textures Multiple UV channels Lightmaps Masking and transparency Texture size and compression Particle systems Forced perspective Polygon optimization Level of detail (LoD) Collision-based optimizations Collision objects Collision types Occlusion-based optimizations Occlusion and culling View frustum Distance fog Cull distance Cells and portals Ga me world op timiz ations 7 Asset-based optimizations Asset-based optimizations are simply those optimizations you can implement and affect during asset production.