By Luke Ahearn
The last word source that can assist you create triple-A caliber paintings for various video game worlds; 3D online game Environments deals exact tutorials on growing 3D versions, using second paintings to 3D versions, and transparent concise suggestion on problems with potency and optimization for a 3D online game engine. utilizing Photoshop and 3ds Max as his basic instruments, Luke Ahearn explains how one can create life like textures from picture resource and makes use of a number of concepts to painting dynamic and plausible video game worlds.
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Extra info for 3D Game Environments
You use distance fog to prevent objects from popping out by setting the far clipping plane just beyond the maximum fog distance. Some game engines will automatically set a clipping plane if distance fog exists. While distance fog can be used to speed up a level, you should be cautious because there are many other forms of fog that are very expensive computationally and will slow things down. Other types of fog in a game world are volumetric and controllable in nature. Some types allow for the horizontal layering of fog, and still others can ﬁll a speciﬁed space or volume.
In Figure 1-19 you can see two images; both were rendered with a camera in the exact same spot. The only difference is the camera angle. The camera on the right has a wider angle lens than the one on the left. A wider angle allows us to see more of the world, but the image is greatly distorted. You can determine where the frustum begins to draw objects and where it stops drawing objects. These settings are called the near and far clipping planes. The plane closest to the camera is the near clipping plane, and the plane farthest from the camera is the far clipping plane (Figure 1-20).
So in the context of a computer game, the simple explanation for occlusion and culling is that you don’t draw (or cull) what is not seen (or occluded). The programming involved in fast and effective occlusion and culling is very complex, and there are numerous methods and algorithms involved. The reason you as an artist need to understand this is so you can take optimal advantage of the technology and design the Orientation to Game World Optimizations world or level in the manner that most effectively executes (and avoids the weaknesses of) the occlusion and culling methods your game engine utilizes.
3D Game Environments by Luke Ahearn
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