By Luke Ahearn
From a steamy jungle to a latest urban, or perhaps a sci-fi area station, 3D video game Environments is the last word source that can assist you create AAA caliber artwork for quite a few video game worlds. basically utilizing Photoshop and 3ds Max, scholars will learn how to create reasonable textures from picture resource and numerous recommendations to painting dynamic and plausible video game worlds. With specified tutorials on growing 3D types, employing second artwork to 3D types, and transparent concise suggestion on problems with potency and optimization for a 3D video game engine, Luke Ahearn delivers every thing scholars have the desire to make their very own lifelike video game environments.
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Extra resources for 3D Game Environments: Create Professional 3D Game Worlds
Sample text
As you build a game world, you create many textures to cover the many 3D objects in the world. When the game world is loaded and run in the game engine, the game engine has to access (call) each of those textures for each frame it renders. These calls slow everything down, so it is desirable to reduce the number of calls. There is a technique you can use called texture packing or creating a texture atlas that can accomplish this. Basically it involves taking a large group of textures that are related in some way (usually geographically close to one another in the game world) and putting them together to create one large texture.
This should be standard for most particle effects. • Use the most efficient asset possible in terms of resolution and file size. • Use the necessary masking/alpha scheme. • Turn off particle collision if possible. • Have particles die or fade out quickly. • Use only the necessary number of particles. • Use the best asset for the particle (this is related to the previous point). A thousand little dots don’t look as cool as a hundred great particles. • Tweak! Take your time and you can make ten particles look better than a hundred.
Orientation to Game World Optimizations expected to tile or repeat? Can you achieve the same effect with a more efficient solution? Can you use three small textures on multiple UV channels as opposed to one enormous texture? How much can you compress or reduce the resolution of an image and still maintain visual integrity? One of the most valuable but underappreciated skills a game artist can acquire is knowing not only the various ways of implementing game art solutions, but what methods and combination of those methods comprise the best solution.