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 will help you create AAA caliber paintings for various video game worlds. essentially utilizing Photoshop and 3ds Max, scholars will learn how to create reasonable textures from picture resource and a number of options to painting dynamic and plausible video game worlds. With precise tutorials on developing 3D types, utilizing second artwork to 3D versions, and transparent concise recommendation on problems with potency and optimization for a 3D video game engine, Luke Ahearn supplies every thing scholars have the desire to make their very own lifelike video game environments.
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Книга является отличным справочным пособием для всех кого интересует photorealistic rendering. В книге рассмотрено большое количество новых алгоритмов с реализацией на мета-языке (например дается subsurface scattering). Стоит отметить что Matt Pharr является редактором серии GPU gem stones от NVIDIA!
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Extra resources for 3D Game Environments. Create Professional 3D Game Worlds
S e c ti on I The basics Cha p t e r ON E Game world optimizations Introduction A computer game needs to look the best it can and run as best as it can on its target hardware. Until you have tried to accomplish this goal, you have no idea how at odds each of these objectives is with the other. There are many tools and techniques to accomplish this, and you need to be familiar with them all. Although the primary focus of this book is the generation of art assets for computer game environments, we can’t escape the fact that creating art for a game is more than just making pretty pictures.
Bad optimization means lower quality art must be used to achieve the required performance of the game. Performance is usually expressed as frames per second (FPS) in a game, and there is a definite limit to what you can do as an artist, a programmer, or a designer based on this—no matter what system specs you are working with. If frame rate is inefficiently used in one place and goes undetected, then it is, by definition, diminishing the available frame rate in other areas of the game. One of my pet peeves is the lastminute gutting of a game to make it run.
Every surface in a game has a set of sound effects, decals, particle systems, and so on associated with 28 3D Ga me Environments it for every different impact event. A shotgun hitting dirt is going to look and sound different from a shotgun hitting metal or glass. A thrown knife hitting metal will sound different from the shotgun hitting metal. It is usually someone’s job to track all this and make sure that, as assets are introduced into the game, the correct properties are assigned to it. Often, a spreadsheet is developed for every weapon, projectile, and surface type in the game to ensure that everything is accounted for during production.
3D Game Environments. Create Professional 3D Game Worlds by Luke Ahearn