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Free tool: Ubisoft technical artist Mohsen Tabasi's award-winning #Houdini add-on #Hextile minimises visible texture repetitions by tiling textures using a hexagonal grid It's also available as a HLSL shader for #UnrealEngine #texturing #gamedev #VFX

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10,351 görüntüleme • 3 yıl önce •via X (Twitter)

#Houdini #Hextile #UnrealEngine #texturing #gamedev #VFX

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Still looking for a new job! I'm a Tech Artist / Generalist who loves pushing visuals, 13 years of #UnrealEngine, Tech Art, Lighting, Lookdev, Env, Cinematics, HLSL, BP, PCG, Niagara, Python as well as a Houdini & Substance Avaliable mid Dec #GameDev #VFX #FX #GameArt

Still looking for a new job! I'm a Tech Artist / Generalist who loves pushing visuals, 13 years of #UnrealEngine, Tech Art, Lighting, Lookdev, Env, Cinematics, HLSL, BP, PCG, Niagara, Python as well as a Houdini & Substance Avaliable mid Dec #GameDev #VFX #FX #GameArt

Dylan Browne

37,903 görüntüleme • 11 ay önce

$Unity includes a tool for baking SDF textures: 🧊 I made this experimental shader for fully volumetric glass shaped to any object using a 3D distance texture. Handles layered self-refraction in a single pass (look at the ears, when the model is rotated), + explicit backface rendering via another camera -> texture pass. I don't have clear plans to add this to PRISM, but it's something I wanted to try out as a morning experiment (R&D, rendering/optics, performance -- for later).$

Unity includes a tool for baking SDF textures: 🧊 I made this experimental shader for fully volumetric glass shaped to any object using a 3D distance texture. Handles layered self-refraction in a single pass (look at the ears, when the model is rotated), + explicit backface rendering via another camera -> texture pass. I don't have clear plans to add this to PRISM, but it's something I wanted to try out as a morning experiment (R&D, rendering/optics, performance -- for later).

Mirza Beig

66,404 görüntüleme • 6 ay önce

I’m really excited to announce that the writing of The Shader Survival Guide is done! We’re now working on the final formatting for this e-book about shader development using Shader Graph in Unity. I also want to mention that this is an interactive e-book that will include a Unity 6 project with lots of shader samples to help you understand the topics covered. This book contains more than 500 pages of knowledge I’ve gained over 10 years working as a Technical Artist in the video game industry. It will be released in the last days of June, so if you’re interested in these topics, consider adding it to your wishlist! We’ll keep you updated with more news. #shader #shadergraph #madewithunity #shadersurvivalguide #hlsl #gamedev #gameart #vfx

I’m really excited to announce that the writing of The Shader Survival Guide is done! We’re now working on the final formatting for this e-book about shader development using Shader Graph in Unity. I also want to mention that this is an interactive e-book that will include a Unity 6 project with lots of shader samples to help you understand the topics covered. This book contains more than 500 pages of knowledge I’ve gained over 10 years working as a Technical Artist in the video game industry. It will be released in the last days of June, so if you’re interested in these topics, consider adding it to your wishlist! We’ll keep you updated with more news. #shader #shadergraph #madewithunity #shadersurvivalguide #hlsl #gamedev #gameart #vfx

Josue Ortigoza (Dervish)

23,021 görüntüleme • 5 ay önce

Village in the Clouds by Lucas Cavalcanti 3D, is a personal, game-ready environment project based on the artwork of 简繁, created to improve his understanding of large-scale environments in Unreal Engine 5. The scene was crafted from scratch, including props, vegetation, textures, VFX, landscape and buildings. In addition to this, the main character was created in VRoid Studio, the modeling and texturing of the Yak was done by 3D Artist Guilherme Miles and the art direction was handled by Concept Artist Dan Vitoria. "I built this project from scratch, using mostly information freely available on the internet. Planning and persistence were crucial to achieving this result. Unreal Engine’s native tools made my work much easier, such as the Vertex Paint tool for texturing the house walls and the Niagara System for creating real-time waterfalls." - Lucas Cavalcanti

Village in the Clouds by Lucas Cavalcanti 3D, is a personal, game-ready environment project based on the artwork of 简繁, created to improve his understanding of large-scale environments in Unreal Engine 5. The scene was crafted from scratch, including props, vegetation, textures, VFX, landscape and buildings. In addition to this, the main character was created in VRoid Studio, the modeling and texturing of the Yak was done by 3D Artist Guilherme Miles and the art direction was handled by Concept Artist Dan Vitoria. "I built this project from scratch, using mostly information freely available on the internet. Planning and persistence were crucial to achieving this result. Unreal Engine’s native tools made my work much easier, such as the Vertex Paint tool for texturing the house walls and the Niagara System for creating real-time waterfalls." - Lucas Cavalcanti

Unreal Engine

45,743 görüntüleme • 8 ay önce

Releasing Forests for ThreeJS (Free, OSS) It can generate a variety of forests directly inside the terrain editor (super terrain). Just use the Forest tool (B), add a new field and click to generate spline curves You can also switch the whole editor to the tree playground and work on a single tree and export it as glb if you want, idc just use it however you feel like Entirely vibe coded, all textures and meshes are procedural Demo: Have Fun oh and Sam Altman get some sunglasses already, it's not that deep

Releasing Forests for ThreeJS (Free, OSS) It can generate a variety of forests directly inside the terrain editor (super terrain). Just use the Forest tool (B), add a new field and click to generate spline curves You can also switch the whole editor to the tree playground and work on a single tree and export it as glb if you want, idc just use it however you feel like Entirely vibe coded, all textures and meshes are procedural Demo: Have Fun oh and Sam Altman get some sunglasses already, it's not that deep

robot 2.0

37,642 görüntüleme • 1 ay önce

$Great question! 🤔 How do you simulate *multiple* layers of glass/refraction in video games? In the last breakdown, I discussed how to create a glass shader in Unity URP. In essence, we were taking the render of the scene from the camera without any transparent objects. This is available in URP as the global _CameraOpaqueTexture. This is good enough for most use-cases, and more or less the classic way of doing it. 🔍 What is _CameraOpaqueTexture? As the name implies, there are no transparent objects rendered into this texture, so it's not possible by default to have something like a transparent-type ocean material/shader rendered through a refractive glass shader (which samples and distorts this texture to render on its surface, as if it's transparent). ⚠️ Why it’s tricky: It's much easier to sort without much further setup if you don't have refraction, and only a transparent material, because in that case you're not simulating the transparency yourself via sampling the rendered scene texture. But for refraction, it's required-- unless you want to go down the ray/path tracing route. You could simulate accurate, real dispersion... and that's about as expensive as it sounds, and it requires a rework of your entire rendering. --> 🚫 It's not a viable suggestion to offer. 📚 There are well-known terms regarding transparency sorting you can search up, but as you've specifically asked for refractive boxes, I'll discuss briefly about that. 🧱 Simulating layers of refraction: For this kind of rendering, you need some way to render the backfaces before rendering the front. And the backfaces that are rendered may contain whatever data you'd like for additional processing in the layer front-facing mesh render. 🧪 Examples: You could render the back face as a glass shader of its own, as an intermediate step after _CameraOpaqueTexture. Then you sample this texture instead and you end up with multi-layered refraction, "just like that". You can also render the back normals only, via a fully opaque shader, and use that to manually account for that during the front render. You could even bake in data needed for thickness in realtime. 🛠️ Without making it complicated for yourself, the most straightforward method is via render textures, and you can easily set some fractional resolution. Cameras in Unity have an open slot for target textures to render to. You can use custom render textures to process _SelfTexture2D. ⏱️ It's great to do low-resolution processing for more complex tasks, like blurring and caustics. You can get massive performance boosts, considering the square law and number of pixels/fragments that need calculations (quadratic scaling). 🚧 I've not fully exploited the possibilities myself, but research/development with PRISM is ongoing!$

Great question! 🤔 How do you simulate multiple layers of glass/refraction in video games? In the last breakdown, I discussed how to create a glass shader in Unity URP. In essence, we were taking the render of the scene from the camera without any transparent objects. This is available in URP as the global _CameraOpaqueTexture. This is good enough for most use-cases, and more or less the classic way of doing it. 🔍 What is _CameraOpaqueTexture? As the name implies, there are no transparent objects rendered into this texture, so it's not possible by default to have something like a transparent-type ocean material/shader rendered through a refractive glass shader (which samples and distorts this texture to render on its surface, as if it's transparent). ⚠️ Why it’s tricky: It's much easier to sort without much further setup if you don't have refraction, and only a transparent material, because in that case you're not simulating the transparency yourself via sampling the rendered scene texture. But for refraction, it's required-- unless you want to go down the ray/path tracing route. You could simulate accurate, real dispersion... and that's about as expensive as it sounds, and it requires a rework of your entire rendering. --> 🚫 It's not a viable suggestion to offer. 📚 There are well-known terms regarding transparency sorting you can search up, but as you've specifically asked for refractive boxes, I'll discuss briefly about that. 🧱 Simulating layers of refraction: For this kind of rendering, you need some way to render the backfaces before rendering the front. And the backfaces that are rendered may contain whatever data you'd like for additional processing in the layer front-facing mesh render. 🧪 Examples: You could render the back face as a glass shader of its own, as an intermediate step after _CameraOpaqueTexture. Then you sample this texture instead and you end up with multi-layered refraction, "just like that". You can also render the back normals only, via a fully opaque shader, and use that to manually account for that during the front render. You could even bake in data needed for thickness in realtime. 🛠️ Without making it complicated for yourself, the most straightforward method is via render textures, and you can easily set some fractional resolution. Cameras in Unity have an open slot for target textures to render to. You can use custom render textures to process _SelfTexture2D. ⏱️ It's great to do low-resolution processing for more complex tasks, like blurring and caustics. You can get massive performance boosts, considering the square law and number of pixels/fragments that need calculations (quadratic scaling). 🚧 I've not fully exploited the possibilities myself, but research/development with PRISM is ongoing!

Mirza Beig

61,581 görüntüleme • 1 yıl önce

Stratosphere was our biggest and heaviest character on #Transformers ROTB. He was a real challenge to deal with on the Modeling, Texturing, and Rendering side. He had 1434 UDIMs due to his immense scale and was made up of tens of thousands of objects. His level of detail was truly something else. His vehicle form was also a behemoth. We had also built a mortar for his robot form and a cannon for his vehicle form but neither of these made it into the film as his part in the final battle was cut out. He was originally supposed to help out in the final battle, using both of these weapons against the Sweepers and Predacons. The decision to cut him from the final act came very late as all of his assets were final at that point. We were never told the reason why his role was cut from the film. I had to re-design my texturing system in Mari when working on him to ensure that it could handle such a complex and large character. I had to simplify a lot of the procedural systems and even had to branch off some of them into their own files to ensure that artists could work with somewhat decent performance. We ran into a lot of issues pushing him through our pipeline, both as a model as well as rendering him due to the sheer amount of objects and textures that had to be processed. For shots, it was requested by Lighting that we reduce his memory footprint as Google had complained he was taking up too much memory and their I/O for rendering on the cloud was being affected. The leadership team and I decided that the best way to do this was to half the texel density on the parts that wouldn't be visible in our approved shots and to also half the resolution of the textures in the parts not visible to camera. This allowed us to optimize his memory footprint both in shots as well as storage and I/O. It was massive technical undertaking working on Stratosphere, so much so that we had to delay getting him into shots as we simply couldn't push him through with our normal tooling. I really enjoyed the challenge that he posed for us as a team. CREDITS: Primary Modeling by Oscar Lowe Support Modeling by Arthur Grandjean and his team Final Texturing & Lookdev by Yaz Raji Video credits: Breakdown shot by MPC Film footage by Paramount

Stratosphere was our biggest and heaviest character on #Transformers ROTB. He was a real challenge to deal with on the Modeling, Texturing, and Rendering side. He had 1434 UDIMs due to his immense scale and was made up of tens of thousands of objects. His level of detail was truly something else. His vehicle form was also a behemoth. We had also built a mortar for his robot form and a cannon for his vehicle form but neither of these made it into the film as his part in the final battle was cut out. He was originally supposed to help out in the final battle, using both of these weapons against the Sweepers and Predacons. The decision to cut him from the final act came very late as all of his assets were final at that point. We were never told the reason why his role was cut from the film. I had to re-design my texturing system in Mari when working on him to ensure that it could handle such a complex and large character. I had to simplify a lot of the procedural systems and even had to branch off some of them into their own files to ensure that artists could work with somewhat decent performance. We ran into a lot of issues pushing him through our pipeline, both as a model as well as rendering him due to the sheer amount of objects and textures that had to be processed. For shots, it was requested by Lighting that we reduce his memory footprint as Google had complained he was taking up too much memory and their I/O for rendering on the cloud was being affected. The leadership team and I decided that the best way to do this was to half the texel density on the parts that wouldn't be visible in our approved shots and to also half the resolution of the textures in the parts not visible to camera. This allowed us to optimize his memory footprint both in shots as well as storage and I/O. It was massive technical undertaking working on Stratosphere, so much so that we had to delay getting him into shots as we simply couldn't push him through with our normal tooling. I really enjoyed the challenge that he posed for us as a team. CREDITS: Primary Modeling by Oscar Lowe Support Modeling by Arthur Grandjean and his team Final Texturing & Lookdev by Yaz Raji Video credits: Breakdown shot by MPC Film footage by Paramount

Rassoul Edji

268,669 görüntüleme • 1 yıl önce

The Shanghai 1936 Bund is an Architectural reconstruction of Shanghai's 1936 Bund in Unreal Engine 5 by Video Game and Architecture Artist Josh H, with character modeling support for the Bun's statues by 3D Artist Eva Heesoo Chae. "Using Nanite and Lumen effectively kills the barrier to entry in terms of making performant 3d models that look good with ray traced lighting, at least for rendering videos. Models with millions of tris and 4k textures can be pretty easily rendered in a 10 minute sequence that you start before bed and wake up to finish. On the animation side, scripting knowledge isn't a barrier either, given the sequencer. The camera cuts drive action, and simple key frames resolve movement. It's also worth saying that users who set lights to real world values and use manual exposure settings need not worry about the technical side of lighting. Knowledge of physical photography transfers over, and the same camera rules a photographer knows, transfers near 1-to-1 for in-camera art direction." - Josh H It's the first part of a series that can be found on Josh's YouTube:

The Shanghai 1936 Bund is an Architectural reconstruction of Shanghai's 1936 Bund in Unreal Engine 5 by Video Game and Architecture Artist Josh H, with character modeling support for the Bun's statues by 3D Artist Eva Heesoo Chae. "Using Nanite and Lumen effectively kills the barrier to entry in terms of making performant 3d models that look good with ray traced lighting, at least for rendering videos. Models with millions of tris and 4k textures can be pretty easily rendered in a 10 minute sequence that you start before bed and wake up to finish. On the animation side, scripting knowledge isn't a barrier either, given the sequencer. The camera cuts drive action, and simple key frames resolve movement. It's also worth saying that users who set lights to real world values and use manual exposure settings need not worry about the technical side of lighting. Knowledge of physical photography transfers over, and the same camera rules a photographer knows, transfers near 1-to-1 for in-camera art direction." - Josh H It's the first part of a series that can be found on Josh's YouTube:

Unreal Engine

19,891 görüntüleme • 1 ay önce

Take some time at Fishermans Rest, a Nordic Fishing Cabin environment from Prop and Environment Artist Giora Nohl. Made to capture the serene sense of isolation, aspects of the environment are scanned in using RealityScan alongside assets made by Giora themselves. "I really enjoy not being bound to someone else’s concept art when working on personal projects. Ideating and blocking out directly in Unreal allowed me to shape the environment without starting from a sketch. Often, a cube, a camera, and some lighting are enough to explore an idea and get a feel for what you want to create." - Giora Nohl The environment is also available on Fab:

Take some time at Fishermans Rest, a Nordic Fishing Cabin environment from Prop and Environment Artist Giora Nohl. Made to capture the serene sense of isolation, aspects of the environment are scanned in using RealityScan alongside assets made by Giora themselves. "I really enjoy not being bound to someone else’s concept art when working on personal projects. Ideating and blocking out directly in Unreal allowed me to shape the environment without starting from a sketch. Often, a cube, a camera, and some lighting are enough to explore an idea and get a feel for what you want to create." - Giora Nohl The environment is also available on Fab:

Unreal Engine

19,978 görüntüleme • 12 gün önce

🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

Cohen Brawley

78,888 görüntüleme • 2 yıl önce

#Roblox #RobloxDev I have been working on this plugin since the latest EditableImage API update and it's looking pretty good so I decided to show you guys My end goal with this plugin is to be able to quickly adjust textures and eliminate the need to use external programs for smaller tasks. The object also allows you to preview the result before uploading anything to roblox! I can't wait for Roblox to add a way to save EditableImages as usable assets and to make them work with VFX objects like particles and beams, this beta feature has so much potential 🙏

#Roblox #RobloxDev I have been working on this plugin since the latest EditableImage API update and it's looking pretty good so I decided to show you guys My end goal with this plugin is to be able to quickly adjust textures and eliminate the need to use external programs for smaller tasks. The object also allows you to preview the result before uploading anything to roblox! I can't wait for Roblox to add a way to save EditableImages as usable assets and to make them work with VFX objects like particles and beams, this beta feature has so much potential 🙏

Imed

61,512 görüntüleme • 1 yıl önce

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. _ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. __ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

Cohen Brawley

46,070 görüntüleme • 2 yıl önce

I think I found the most intuitive Blender texturing add-on for artists who work with NPR models relying on hand-painting 🥹 This is “Paint System” and I found it really simple to use and navigate! It really feels like using PS/CSP in Blender ദ്ദി(ᵔᗜᵔ) Here’s a simple video showing how layers work (very simple clipping mask & alpha locking too), changing layer blend mode, and you can then bake the layers into 1 & export image! Opacity of each layer can also be adjusted with a slider like in PS/CSP but I forgot to show it hahah It also comes with 2 very nice brushes!! I know there are other add-ons for the same job or can do even more things but just wanted to share this since I found it the most intuitive as someone who hand paints textures a lot in other art programs and have non-existent knowledge over nodes in Blender ;-; Link to the add-on in replies and happy painting!!!! (ᗒ⩊ᗕ)⸝ި ʕᦏ⌎ (yes it’s free! with an option to donate to the creator to support them too)

I think I found the most intuitive Blender texturing add-on for artists who work with NPR models relying on hand-painting 🥹 This is “Paint System” and I found it really simple to use and navigate! It really feels like using PS/CSP in Blender ദ്ദി(ᵔᗜᵔ) Here’s a simple video showing how layers work (very simple clipping mask & alpha locking too), changing layer blend mode, and you can then bake the layers into 1 & export image! Opacity of each layer can also be adjusted with a slider like in PS/CSP but I forgot to show it hahah It also comes with 2 very nice brushes!! I know there are other add-ons for the same job or can do even more things but just wanted to share this since I found it the most intuitive as someone who hand paints textures a lot in other art programs and have non-existent knowledge over nodes in Blender ;-; Link to the add-on in replies and happy painting!!!! (ᗒ⩊ᗕ)⸝ި ʕᦏ⌎ (yes it’s free! with an option to donate to the creator to support them too)

𝗞𝗔𝗥𝗜𝗛𝗔 🌘🍀 3D Artist ☻

19,713 görüntüleme • 7 ay önce

Working on Sparse Volumetric Light-maps. Thanks to CynicatPro🎃 for pointing me at Unreal's version. In a nutshell it's just another sparse voxel data structure. My implementation is, no doubt, different from Epic Games Store's own. I'm using 4x4x4 probe grid with intermediate nodes having very wide branching factor of 64 as well (4x4x4). I liked the parameters that Unreal is using, of limiting both total memory as well as the lowest level of detail, which is common in sparse grid implementations. Here's Bistro scene with just 1Mb limit. This is roughly equivalent to a 512x512 lightmap texture in 2d, except surface light maps require unique UVs and you typically get very little detail out of 512 resolution texture with a lot of light leaking. There is also no directional response. My implementation encodes second-order spherical harmonics for each probe (9 coefficients), encoding RGB channels as RGBE9995 (4 bytes). So far only worked on the structure, actual bake is yet to come. I've been eyeing sparse voxel structures for a while now, and have been studying them roughly since the GigaVoxel paper by Cyril Crassin but never really implemented anything for the GPU before. I was always the BVH-kind of guy. It's a fascinating topic. --- Stats for the scene: --- Total memory usage: 1.000 MB Node count: 609 Unique probe count: 24,025 Probe reuse: 38.36 % Unexpanded nodes: 15,714 --- Again, note that there is no GI going on here, only the structure of the probe tree and the algorithm for building it from a given scene.

Working on Sparse Volumetric Light-maps. Thanks to CynicatPro🎃 for pointing me at Unreal's version. In a nutshell it's just another sparse voxel data structure. My implementation is, no doubt, different from Epic Games Store's own. I'm using 4x4x4 probe grid with intermediate nodes having very wide branching factor of 64 as well (4x4x4). I liked the parameters that Unreal is using, of limiting both total memory as well as the lowest level of detail, which is common in sparse grid implementations. Here's Bistro scene with just 1Mb limit. This is roughly equivalent to a 512x512 lightmap texture in 2d, except surface light maps require unique UVs and you typically get very little detail out of 512 resolution texture with a lot of light leaking. There is also no directional response. My implementation encodes second-order spherical harmonics for each probe (9 coefficients), encoding RGB channels as RGBE9995 (4 bytes). So far only worked on the structure, actual bake is yet to come. I've been eyeing sparse voxel structures for a while now, and have been studying them roughly since the GigaVoxel paper by Cyril Crassin but never really implemented anything for the GPU before. I was always the BVH-kind of guy. It's a fascinating topic. --- Stats for the scene: --- Total memory usage: 1.000 MB Node count: 609 Unique probe count: 24,025 Probe reuse: 38.36 % Unexpanded nodes: 15,714 --- Again, note that there is no GI going on here, only the structure of the probe tree and the algorithm for building it from a given scene.

Alex Goldring

11,519 görüntüleme • 8 ay önce

🎓Learn how to create a powerful Worn Leather smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a fill layer with a black mask applied. Inside its mask paint a simple pill shape and use a blur slope filter to introduce some random shapes. Apply a marble veins fill layer on top with its blending mode set to color burn. Apply a warp filter as well to introduce some randomness followed by an anchorpoint. 2. Create another fill layer using the same technique to apply some dirt in the crevices of the wear. 3. Next, Inside the main fill layer apply a tiling raw leather texture to its Color and roughness channel 4. Create an additional fill layer up top and apply a black mask to it.Inside this mask retrieve the anchorpoint information followed by a blur filter with a value of 6. Use a levels to increase the spread of the mask. Apply another marble veins matching the values of the marble veins fill layer that we previously added and set its blending mode to multiply. Lastly retrieve the anchorpoint information from the previous fill layer again but this time set its blending mode to subtract. This fill layers properties should have a dark diffuse color and a matte roughness. 5. Add another fill layer with a bright diffuse and height properties with a black mask applied to it. Inside its mask retrieve the anchorpoint information again followed by a blur slope. Apply the anchorpoint information again but this time set its blending mode to subtract. Now we have a worn leather effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #3dartist #texturing #UE5 #unity #artstation

🎓Learn how to create a powerful Worn Leather smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. In this video, the steps are as follows: 1. Create a fill layer with a black mask applied. Inside its mask paint a simple pill shape and use a blur slope filter to introduce some random shapes. Apply a marble veins fill layer on top with its blending mode set to color burn. Apply a warp filter as well to introduce some randomness followed by an anchorpoint. 2. Create another fill layer using the same technique to apply some dirt in the crevices of the wear. 3. Next, Inside the main fill layer apply a tiling raw leather texture to its Color and roughness channel 4. Create an additional fill layer up top and apply a black mask to it.Inside this mask retrieve the anchorpoint information followed by a blur filter with a value of 6. Use a levels to increase the spread of the mask. Apply another marble veins matching the values of the marble veins fill layer that we previously added and set its blending mode to multiply. Lastly retrieve the anchorpoint information from the previous fill layer again but this time set its blending mode to subtract. This fill layers properties should have a dark diffuse color and a matte roughness. 5. Add another fill layer with a bright diffuse and height properties with a black mask applied to it. Inside its mask retrieve the anchorpoint information again followed by a blur slope. Apply the anchorpoint information again but this time set its blending mode to subtract. Now we have a worn leather effect wherever we paint using the paint layer created inside the callout mask! More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #3dartist #texturing #UE5 #unity #artstation

Cohen Brawley

88,792 görüntüleme • 2 yıl önce

Posture Pal is available for macOS Sonoma today! Improve your work posture by wearing your AirPods. While you're working, Rafi and friends are keeping an eye on your posture by using the motion sensors in your AirPods. When you start slouching, they will appear from the bottom of your screen for a fun yet very effective warning! A macOS version was the number one requested feature since the iOS app became App of the Month in China back in April 2022. Now in macOS Sonoma Apple added the necessary APIs 🙂 It's available for free from the Mac App Store, and you can unlock all characters (as well as all pro features for the iOS version) for a one time purchase of $4.99!

Posture Pal is available for macOS Sonoma today! Improve your work posture by wearing your AirPods. While you're working, Rafi and friends are keeping an eye on your posture by using the motion sensors in your AirPods. When you start slouching, they will appear from the bottom of your screen for a fun yet very effective warning! A macOS version was the number one requested feature since the iOS app became App of the Month in China back in April 2022. Now in macOS Sonoma Apple added the necessary APIs 🙂 It's available for free from the Mac App Store, and you can unlock all characters (as well as all pro features for the iOS version) for a one time purchase of $4.99!

Jordi Bruin

295,187 görüntüleme • 3 yıl önce

$🧑‍🏫 How to make a glass/refraction shader: 🍷 Refraction will ultimately have the effect that whatever is behind your mesh should appear distorted by the surface of the mesh itself. We're not going for external caustics projection, just modelling glass-like, distorting "transparency". 🌆 In Unity, you can sample the *global* _CameraOpaqueTexture (make sure it's enabled in your URP asset settings), which is what your scene looks like rendered without any transparent objects. In Shader Graph, you can simply use the Scene Colour node. 🔢 The UVs required for this texture are the normalized screen coordinates, so if we offset/warp/distort these coordinates and sample the texture, we ultimately produce a distorted image. We can offset the UVs by some normal map, as well as a refraction vector based on the direction from the camera -> the vertex/fragment (flip viewDir, which is otherwise vertex/fragment -> camera) and normals of the object. 📸 Input the (reversed) world space view direction and normal into HLSL refract. **Convert the refraction direction vector to tangent space before adding it to the screen UV.** Use the result to sample _CameraOpaqueTexture. refract(-worldViewDirection, worldNormal, eta); eta -> refraction ratio (from_IOR / to_IOR), > for air, 1.0 / indexOfRefraction (IOR). IOR of water = 1.33, glass = 1.54... 💡 You can also do naive "looks about right" hacks: fresnel -> normal from grayscale, which can be used for distortion. Or distort it any other way (without even specifically using refract at all), really... 🧠 Thus, even if your object is rendered as a transparent type (and vanilla Unity URP will require that it is), it is fully 'opaque' (max alpha), but it renders on its surface what is behind it, using the screen UV. If you distort those UVs by the camera view and normals of the surface it will be rendered on, it then appears like refractive glass on that surface. > Transparent render queue, but alpha = 1.0.$

🧑‍🏫 How to make a glass/refraction shader: 🍷 Refraction will ultimately have the effect that whatever is behind your mesh should appear distorted by the surface of the mesh itself. We're not going for external caustics projection, just modelling glass-like, distorting "transparency". 🌆 In Unity, you can sample the global _CameraOpaqueTexture (make sure it's enabled in your URP asset settings), which is what your scene looks like rendered without any transparent objects. In Shader Graph, you can simply use the Scene Colour node. 🔢 The UVs required for this texture are the normalized screen coordinates, so if we offset/warp/distort these coordinates and sample the texture, we ultimately produce a distorted image. We can offset the UVs by some normal map, as well as a refraction vector based on the direction from the camera -> the vertex/fragment (flip viewDir, which is otherwise vertex/fragment -> camera) and normals of the object. 📸 Input the (reversed) world space view direction and normal into HLSL refract. Convert the refraction direction vector to tangent space before adding it to the screen UV. Use the result to sample _CameraOpaqueTexture. refract(-worldViewDirection, worldNormal, eta); eta -> refraction ratio (from_IOR / to_IOR), > for air, 1.0 / indexOfRefraction (IOR). IOR of water = 1.33, glass = 1.54... 💡 You can also do naive "looks about right" hacks: fresnel -> normal from grayscale, which can be used for distortion. Or distort it any other way (without even specifically using refract at all), really... 🧠 Thus, even if your object is rendered as a transparent type (and vanilla Unity URP will require that it is), it is fully 'opaque' (max alpha), but it renders on its surface what is behind it, using the screen UV. If you distort those UVs by the camera view and normals of the surface it will be rendered on, it then appears like refractive glass on that surface. > Transparent render queue, but alpha = 1.0.

Mirza Beig

125,253 görüntüleme • 1 yıl önce

Created a flag on the moon based with hyper-realistic physics with v0: The flag is simulated as a grid of particles connected by springs (cloth simulation). It's influenced by gravity, wind, air resistance. The initial approach v0 one-shotted was quite simplistic, but giving it references to more sophisticated approaches in C++ and Rust quickly improved it. It was mind-blowing it to see it deeply understand the physics and port new ideas across languages. It simulated a real sun for lighting, and procedurally generated moon-like terrain with craters. I found a sick free texture on Reddit that I uploaded and it layered on top. Another epic moment was watching it improve performance. It seamlessly moved the physics simulation to a Web Worker. (Kinda cool to see given we just improved support for them in Turbopack 😉)

Created a flag on the moon based with hyper-realistic physics with v0: The flag is simulated as a grid of particles connected by springs (cloth simulation). It's influenced by gravity, wind, air resistance. The initial approach v0 one-shotted was quite simplistic, but giving it references to more sophisticated approaches in C++ and Rust quickly improved it. It was mind-blowing it to see it deeply understand the physics and port new ideas across languages. It simulated a real sun for lighting, and procedurally generated moon-like terrain with craters. I found a sick free texture on Reddit that I uploaded and it layered on top. Another epic moment was watching it improve performance. It seamlessly moved the physics simulation to a Web Worker. (Kinda cool to see given we just improved support for them in Turbopack 😉)

Guillermo Rauch

534,811 görüntüleme • 6 ay önce