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Restricted: Sublevel Quarantine is an environment project by Lead Environment Artist Doru Bogdan and inspired by the Metro game series. The creation utilizes UE5's MegaLights, Nanite Displacement, Texture Blending and more 🚧 "My spline-based tunnel modular meshes kept flickering and distorting from a distance. I thought it needed more... show more

Unreal Engine

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19,732 Aufrufe • vor 6 Tagen •via X (Twitter)

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Profilbild von Sierra Division

Sierra Divisionvor 6 Tagen

@DoruArt 🔥🔥🔥🔥

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zerovor 6 Tagen

@DoruArt all with UE5 below

Profilbild von QDY

QDYvor 6 Tagen

@DoruArt good job.

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Proxy Meshes aren't always ideal because many of the vertices are filler. They have to be in the right place to complete the surface shape and you have to worry about keeping the shape clean. But for simple shapes or clean curved surfaces, why not use curves directly Previously I've solved this by lofting the proxy mesh from a simpler set of curve profiles, but why not skip that and just define the Normals with the curve profiles directly? With typical Data Transfer modifier this isn't an option, but with Geometry Nodes it is no problem. And potentially gives much more control over interpolation and rigging.

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Flexible Isosurface Extraction for Gradient-Based Mesh Optimization paper page: This work considers gradient-based mesh optimization, where we iteratively optimize for a 3D surface mesh by representing it as the isosurface of a scalar field, an increasingly common paradigm in applications including photogrammetry, generative modeling, and inverse physics. Existing implementations adapt classic isosurface extraction algorithms like Marching Cubes or Dual Contouring; these techniques were designed to extract meshes from fixed, known fields, and in the optimization setting they lack the degrees of freedom to represent high-quality feature-preserving meshes, or suffer from numerical instabilities. We introduce FlexiCubes, an isosurface representation specifically designed for optimizing an unknown mesh with respect to geometric, visual, or even physical objectives. Our main insight is to introduce additional carefully-chosen parameters into the representation, which allow local flexible adjustments to the extracted mesh geometry and connectivity. These parameters are updated along with the underlying scalar field via automatic differentiation when optimizing for a downstream task. We base our extraction scheme on Dual Marching Cubes for improved topological properties, and present extensions to optionally generate tetrahedral and hierarchically-adaptive meshes. Extensive experiments validate FlexiCubes on both synthetic benchmarks and real-world applications, showing that it offers significant improvements in mesh quality and geometric fidelity.

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Watching live I thought this was just an overthrow by Hurts. Watching it back I think he is trying to throw it up field a little more to get it over the flat defender since the CB turns and runs in an inverted C2 look. Brown could probably do a better job adjusting to the ball. This is a play these guys make 9 times out of 10.

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How is Esrefrüya going for you? It’s going great. Really. I know it sounds like a cliché, but it truly feels like a dream to me. The project, in every sense the team, the set, the script has really turned out perfectly. It’s a very good production company. And the audience feedback has completely met our expectations. We’re very happy, too. Every week, honestly, besides being an actor, I read the script as if I were a viewer, and I think to myself, “I wonder how it will all come together when we watch it?”It’s all a surprise, really” #DemetÖzdemir #esrefrüya

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Everything far away in a game engine can feel small, flat, and washed out. That is correct perspective, but it can make for some poor scenery sometimes. Two features I've added to my engine try to fight against that: Spatial Recession magnifies the distance. After a vertex is projected I push its screen position outward from center. Near geometry is untouched. It only moves x and y, never depth, so nothing sorts differently and nothing z-fights. The result is a long lens bolted onto the far half of a wide one: the tower and the ridgeline loom instead of receding, while I keep the wide field of view I actually play in (FOV is identical in both of these examples). Dimensional Falloff is four distance ramps on the surface itself. Lighting contrast flattens so distant hills stop having a hard lit side and a hard dark side, which is what haze does in real life. Color then desaturates toward its own brightness to fake more distance. Then that desaturated color is pushed, and that is the one doing most of the visible work here. Last is texture detail, with a custom MIP value based on distances. All of it keys off real radial distance from the camera rather than depth This is so it stays put when you turn your head. Performance cost is next to nothing. The recession is two lines in the vertex shader. The falloff is a few lerps at the end of the pixel shader, which was already computing that distance for the mip bias anyway. Quite happy with the results, what do you think? #gamedev

Everything far away in a game engine can feel small, flat, and washed out. That is correct perspective, but it can make for some poor scenery sometimes. Two features I've added to my engine try to fight against that: Spatial Recession magnifies the distance. After a vertex is projected I push its screen position outward from center. Near geometry is untouched. It only moves x and y, never depth, so nothing sorts differently and nothing z-fights. The result is a long lens bolted onto the far half of a wide one: the tower and the ridgeline loom instead of receding, while I keep the wide field of view I actually play in (FOV is identical in both of these examples). Dimensional Falloff is four distance ramps on the surface itself. Lighting contrast flattens so distant hills stop having a hard lit side and a hard dark side, which is what haze does in real life. Color then desaturates toward its own brightness to fake more distance. Then that desaturated color is pushed, and that is the one doing most of the visible work here. Last is texture detail, with a custom MIP value based on distances. All of it keys off real radial distance from the camera rather than depth This is so it stays put when you turn your head. Performance cost is next to nothing. The recession is two lines in the vertex shader. The falloff is a few lerps at the end of the pixel shader, which was already computing that distance for the mip bias anyway. Quite happy with the results, what do you think? #gamedev

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✨ I made a little demo of #vibejam sponsor Tripo and how you can use it to generate assets for your games In this case I'm generating an apartment flat that's half destroyed and open for my drone sim to fly around, take cover and shoot at enemies from First I write the prompt and select Nano Banana to generate an image first, I get a few different ones, and I select the one I like Then that one is converted into a 3d object called a Smart Mesh Smart Mesh is different than regular image-to-3d models because usually you get issues with uneven polygon distribution, too dense geometry and poor edge flow, so while you think you save time with generating it with AI you end up doing lots of editing after to fix the topology which kinda defeats the point Smart Mesh doesn't have any of this, it's fast and clean low-poly models you can drop into your game Anyway, after generating the model I can then see it in 3d, and if I don't like it, regenerate it, or if I like it start texturing it Once that's done, I export it as a GLB, FBX or OBJ and drop it in (usually I use GLB as ThreeJS seems to prefer that), in my case I just drop the URL into Cursor and let it figure out the placement of the asset into my game!

✨ I made a little demo of #vibejam sponsor Tripo and how you can use it to generate assets for your games In this case I'm generating an apartment flat that's half destroyed and open for my drone sim to fly around, take cover and shoot at enemies from First I write the prompt and select Nano Banana to generate an image first, I get a few different ones, and I select the one I like Then that one is converted into a 3d object called a Smart Mesh Smart Mesh is different than regular image-to-3d models because usually you get issues with uneven polygon distribution, too dense geometry and poor edge flow, so while you think you save time with generating it with AI you end up doing lots of editing after to fix the topology which kinda defeats the point Smart Mesh doesn't have any of this, it's fast and clean low-poly models you can drop into your game Anyway, after generating the model I can then see it in 3d, and if I don't like it, regenerate it, or if I like it start texturing it Once that's done, I export it as a GLB, FBX or OBJ and drop it in (usually I use GLB as ThreeJS seems to prefer that), in my case I just drop the URL into Cursor and let it figure out the placement of the asset into my game!

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Cain Velasquez opens up about managing the emotional toll of prison and the support he found from fellow inmates: "There were moments where I felt like I was going to freak out, but you can't do that. Sometimes I'd just scream for a while, just let it all out and not care what anybody else thought. The guys around me knew I needed that. They knew I had to lose my mind for a minute. By the end of it, I'd just be drained and relaxed. I let it out. I didn't hold it in."

Cain Velasquez opens up about managing the emotional toll of prison and the support he found from fellow inmates: "There were moments where I felt like I was going to freak out, but you can't do that. Sometimes I'd just scream for a while, just let it all out and not care what anybody else thought. The guys around me knew I needed that. They knew I had to lose my mind for a minute. By the end of it, I'd just be drained and relaxed. I let it out. I didn't hold it in."

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this is how i made the Rainbow x MOG COIN app icon. i started by gathering a few joycat references to create a version with new traits while keeping the original style — easy enough since he's literally the cat emoji we all know. from there, it was just about adding the grillz and the vipers. then i illustrated the background by hand to make it more dynamic, following joycat's silhouette and my own trippy backgrounds (but sticking to blue this time). i smoothed out the gradients, redesigned the tears to feel more stylized, and added subtle shadows so the details pop more. the final touch was turning the eyes into two rainbow logos — the cherry on top. it instantly clicked, and imo it's the detail that ties the whole collaboration together.

this is how i made the Rainbow x MOG COIN app icon. i started by gathering a few joycat references to create a version with new traits while keeping the original style — easy enough since he's literally the cat emoji we all know. from there, it was just about adding the grillz and the vipers. then i illustrated the background by hand to make it more dynamic, following joycat's silhouette and my own trippy backgrounds (but sticking to blue this time). i smoothed out the gradients, redesigned the tears to feel more stylized, and added subtle shadows so the details pop more. the final touch was turning the eyes into two rainbow logos — the cherry on top. it instantly clicked, and imo it's the detail that ties the whole collaboration together.

YON

18,224 Aufrufe • vor 9 Monaten