Download 3D Game Environments. Create Professional 3D Game Worlds by Luke Ahearn PDF

By Luke Ahearn

From a steamy jungle to a latest urban, or perhaps a sci-fi house station, 3D video game Environments is the final word source that can assist you create AAA caliber paintings for quite a few video game worlds. essentially utilizing Photoshop and 3ds Max, scholars will discover ways to create reasonable textures from photograph resource and a number of concepts to painting dynamic and plausible online game worlds. With special tutorials on growing 3D types, utilizing 2nd paintings to 3D types, and transparent concise recommendation on problems with potency and optimization for a 3D video game engine, Luke Ahearn grants every thing scholars have the desire to make their very own real looking online game environments.

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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.

This is achieved partly by simply dropping the features of a typical particle system that are not needed for a more specific-use particle system. Emitters and particles are typically represented by some sort of icon in the game editor but are invisible in the game—you only see the assets spawning at the emitter point and being controlled by the particle entity they are attached to. Usually, the game artist, when placing an emitter, makes sure it looks as if the particles are coming out of something and not just from thin air.

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. Polygon optimization Artists can manually delete any back, or unseen, faces on a mesh. They can also do a great deal to ensure stability and efficiency when building assets, by seeing to it that they have none of the following: • • • • Floating or single vertices T junctions Stacked or multiple faces Bad angles or sizes of polygons And, depending on the game technology, they can (and should) also ensure the following: • Sealed geometry or all unseen faces have been removed.

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