Ikr! I came across this video and was surprised to find a channel analyzing BMW's game art. He goes so in-depth too, down to the science of it. The garbage art courses I took don't even compare to this.
I'm studying to be a game designer and was pretty shocked to find your video pop in my feeds analyzing the art for my favorite game LOL. As someone else mentioned, it's really unique how you're the only channel that analyzed BMW's game art. I love how you go in-depth with the art concepts used. You pointed out a lot of small details I'm sure many gamers would've missed had they not been explained like this. I'm learning a lot more about art science just from watching this. Thanks for this awesome game art guide! PS - Would be interested in seeing you do a video of Wukong's amoursets!
I would propose a counter argument on the point of sculpted noise. In my experience it's almost always a limiting factor. These days, Substance and Houdini are the way to apply details pre or post baking step. Clean sculpts devoid of tiling surface details is the way to scale a professional pipeline.
If it doesn't affect silhouette, it's probably better done in post. It's also more efficient. Your dynameshed meshes will be lighter, your bakes faster, and your server space utilization lower.
Although about the giant tree. I think rather than vertex painting (As UE 5.5 which introduced Nanite Vertex Painting came out after the game release, unless they weren't using it, wouldn't have been the most viable option) they probably went for a Material Layering approach within Unreal Engine. Perhaps painting in Substance at low res, exporting those mask to sustain at higher inside Unreal using tileable. As all the Giant Tree base and blend material look like tileables.
The trees are probably just one UV set and they are using 1-2 tileable textures (with masks) as detail maps in the shader (pretty common technique). I'm not sure if it does, but if the game is using nanite then its even easier to get that amount of detail since they wouldn't rely that much on the normal map but on the geometry itself so the normal map could be just a 2K map. P.S. Similar sculpted trees had been done for Shadow of Mordor/War and that is quite an older game.
13:50 What I do when I have meshes like those big trees with nanite, to avoid the second UV channel is to have everything in the same UV channel, unwrapping the UVs to apply my tileable textures but packing everything inside the 0.1 space, I do the bake in those same UVs and then in my shader in Unreal Engine I divide the texel of my project, for example 10.24, between the texel of my UVs, lets say 4.517, and that quotient, 2.26699 in this case, is the number by which I multiply The TexCoordinates before the tileable textures. I hope I've explained myself in a clear way!
Can you tell what you mean about the 0.1 space? and i believe, the rest you explain how you retain the same texel size on your tileable textures -noises if i got it right? Thanks for the tip btw!
@@emrice6485 The 0.1 space is (usually) the square space in which you unwrap your UVs. Your Uv islands can fit into that square, or not, depending on the kind of texture they will receive et what your pipeline is etc. Just type ''UV space'' in google and you should find an image that speaks for itself
Only meshes in camera range need to be high res I wonder if separating large meshes into highly detailed closer and low res distant parts could save more performance especially because of quad overdraw. Here the entire mesh is LOD 0 if the player is at the base of the tree but the top of the tree should be at a higher LOD realistically. I don't have much experience with nanite so i don't know if it solves this issue but for traditional pipelines it could be better.
Thanks for this video! at 8:25 you mention some tutorials by some God Of War artists - would you be able to point me in the direction of any of those? Thank you!
Can you do Stalker 2 (heart of chornobyl) ?. In particular texturing large object, like you do in this video about large trees. From what i could see in that game, they use multiple material layers within single material instance, where each have 3 texture , so 9 + masks and they are mostly being 4k in size, but they almost completely hide texture repetition/tiling...
it's no benchmark, it's has turbo mediocre env art and no level design whatsoever. only good thing graphically about it are megascans assets from unreal store. it's boss rush game. no action adventure. overrated. and you don't know what you talk about. edit: those sculpts are horrible...
Your profile pic really shows you're a master of the crafts, truly valuable comment and insight! Thanks for pointing out, i'll be folowing you for now on instead of this whoever industry professional posting the video... i'm so lucky
@@mschulmeister6519 go on and disprove me. for example let's compare sculpts from gow and wukong. If you can't see the big quality difference you really have a lot of work in front of you. and if you consider simple corridors between boss arenas as good lvl design or env art than your bar is simply really low...
Mediocre is the education you have been given. If you knew anything about the subject you wouldn't say those things, you are just another player giving your opinion. Let the professionals talk about what they've implemented, whether you like it or not. Going so far as to say that it is a mediocre game only speaks of the little culture and knowledge you have. And in the technical section not to mention it since regardless of whether it has flaws or not, like all games, it has exceeded the expectations of the players on an emotional, historical and cultural level, thus uniting unknown parts of Chinese mythology. If you don't know how to see the complete work they have done, from the design, the setting, the soundtrack, the story, the animations or the animated shorts and what it means for their culture you definitely have no idea what you are seeing. If you don't like China you can say it openly.
I swear there is no one is doing content like this anywhere.
Thanks for the initiative, this is worth gold, especially being free.
Ikr! I came across this video and was surprised to find a channel analyzing BMW's game art. He goes so in-depth too, down to the science of it. The garbage art courses I took don't even compare to this.
I'm studying to be a game designer and was pretty shocked to find your video pop in my feeds analyzing the art for my favorite game LOL. As someone else mentioned, it's really unique how you're the only channel that analyzed BMW's game art. I love how you go in-depth with the art concepts used. You pointed out a lot of small details I'm sure many gamers would've missed had they not been explained like this. I'm learning a lot more about art science just from watching this. Thanks for this awesome game art guide!
PS - Would be interested in seeing you do a video of Wukong's amoursets!
Man I really love how in depth you go, just discovered your channel as a 3D modeler, learned so many things.
I would propose a counter argument on the point of sculpted noise. In my experience it's almost always a limiting factor. These days, Substance and Houdini are the way to apply details pre or post baking step. Clean sculpts devoid of tiling surface details is the way to scale a professional pipeline.
If it doesn't affect silhouette, it's probably better done in post. It's also more efficient. Your dynameshed meshes will be lighter, your bakes faster, and your server space utilization lower.
If if wasn't for the fact they were using Nanite, the artists would probably bake those details down to textures
That's a great breakdown, please keep them going!
Been loving these breakdowns. Awesome content, keep it coming!
Although about the giant tree. I think rather than vertex painting (As UE 5.5 which introduced Nanite Vertex Painting came out after the game release, unless they weren't using it, wouldn't have been the most viable option) they probably went for a Material Layering approach within Unreal Engine. Perhaps painting in Substance at low res, exporting those mask to sustain at higher inside Unreal using tileable. As all the Giant Tree base and blend material look like tileables.
The trees are probably just one UV set and they are using 1-2 tileable textures (with masks) as detail maps in the shader (pretty common technique).
I'm not sure if it does, but if the game is using nanite then its even easier to get that amount of detail since they wouldn't rely that much on the normal map but on the geometry itself so the normal map could be just a 2K map.
P.S. Similar sculpted trees had been done for Shadow of Mordor/War and that is quite an older game.
amazing content as always, thank you!
bro, tons of items in that game are 3D scaned from real ancient heritage.
Amazing video cheers!
13:50
What I do when I have meshes like those big trees with nanite, to avoid the second UV channel is to have everything in the same UV channel, unwrapping the UVs to apply my tileable textures but packing everything inside the 0.1 space, I do the bake in those same UVs and then in my shader in Unreal Engine I divide the texel of my project, for example 10.24, between the texel of my UVs, lets say 4.517, and that quotient, 2.26699 in this case, is the number by which I multiply The TexCoordinates before the tileable textures. I hope I've explained myself in a clear way!
Can you tell what you mean about the 0.1 space? and i believe, the rest you explain how you retain the same texel size on your tileable textures -noises if i got it right? Thanks for the tip btw!
@@emrice6485 The 0.1 space is (usually) the square space in which you unwrap your UVs. Your Uv islands can fit into that square, or not, depending on the kind of texture they will receive et what your pipeline is etc. Just type ''UV space'' in google and you should find an image that speaks for itself
@@emrice6485every UV island inside the UV space, having every island the same orientation 🙌🏽👌🏽
when you say "the bake" in reference to the textures, should someone bake in their 3D model software (blender for me), or bake in Unreal?
Been looking for a breakdown on those wukong tree sculpts since they were posted on artstation ages ago
Only meshes in camera range need to be high res I wonder if separating large meshes into highly detailed closer and low res distant parts could save more performance especially because of quad overdraw. Here the entire mesh is LOD 0 if the player is at the base of the tree but the top of the tree should be at a higher LOD realistically. I don't have much experience with nanite so i don't know if it solves this issue but for traditional pipelines it could be better.
I think large assets materials are made using Material layer system in ue5, I need to find a good tutorial that explains this process.
wow, 头一次看到外国人聊中国审美呢。这些东西都关乎意境这个概念。这个比较抽象。
Thanks for this video! at 8:25 you mention some tutorials by some God Of War artists - would you be able to point me in the direction of any of those? Thank you!
These two resources should be a good one to get you started -
ua-cam.com/video/AM_jkAch49M/v-deo.html
danniecarlone.gumroad.com/l/jqTc
Cordell Felix also has an internet presence. Idk about tutorials though
UE5, Photogrametry, Ray Tracing and Nanites. That's why it looked so worn, old and natural.
Can you do Stalker 2 (heart of chornobyl) ?. In particular texturing large object, like you do in this video about large trees. From what i could see in that game, they use multiple material layers within single material instance, where each have 3 texture , so 9 + masks and they are mostly being 4k in size, but they almost completely hide texture repetition/tiling...
We need God of war Ragnarok Wood assets breakdown please.😊
Just think how good the game could have looked with a good HDR implementation though
Please do artstyle breakdown of elden ring also pls
it's no benchmark, it's has turbo mediocre env art and no level design whatsoever. only good thing graphically about it are megascans assets from unreal store. it's boss rush game. no action adventure. overrated. and you don't know what you talk about. edit: those sculpts are horrible...
Your profile pic really shows you're a master of the crafts, truly valuable comment and insight! Thanks for pointing out, i'll be folowing you for now on instead of this whoever industry professional posting the video... i'm so lucky
I think we have found the one who buzzing to eliminate Black Myth Wukong from Game of The Year Award
@@orenjidesu7290 I'm not the only one. It's not a bad game, it's not a great game. it's mediocre.
@@mschulmeister6519 go on and disprove me. for example let's compare sculpts from gow and wukong. If you can't see the big quality difference you really have a lot of work in front of you. and if you consider simple corridors between boss arenas as good lvl design or env art than your bar is simply really low...
Mediocre is the education you have been given. If you knew anything about the subject you wouldn't say those things, you are just another player giving your opinion. Let the professionals talk about what they've implemented, whether you like it or not. Going so far as to say that it is a mediocre game only speaks of the little culture and knowledge you have. And in the technical section not to mention it since regardless of whether it has flaws or not, like all games, it has exceeded the expectations of the players on an emotional, historical and cultural level, thus uniting unknown parts of Chinese mythology. If you don't know how to see the complete work they have done, from the design, the setting, the soundtrack, the story, the animations or the animated shorts and what it means for their culture you definitely have no idea what you are seeing. If you don't like China you can say it openly.