Re: Question about dealing with content creation for large worlds

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Hi! Thanks for the answer!

1) Do you want unique texturing of everything?


Yes, Ideally, I'd like to have a workflow that works like this. Probably
either of these would work:

1) 3D Artist models a town, a section of a city, a valley or any other kind
of scenery, but does not do the UV coordinate generation nor worry about
how to split the scene in chunks.
2) A tool does something to what was modelled, splits the scene in regions
(octants or quadrants?) and generates UV maps for everything automatically.
3) 2D Artist uses an existing tool for painting over the geometry.

2) What kind of view distance, level of detail, and memory requirements do
> you have?


The usual consoles/mobile memory requierement i guess. For optimizing work,
i thought that in Step 1) the level designer could place hint zones on
where the player is expected to be, so for step 2), zones that are too far
away could just use smaller textures and be bundled together to minimize
draw calls and improve occlussion culling.

So, my questions are mainly.

for 2), is there any algorithm recommended for doing the world subdivision
and automatic UV generation (unwrapping?), I suppose it needs to consider
that
      a) it should generate more textures if there is a larger plolyhedral
surface to cover in that zone






On Mon, Nov 26, 2012 at 6:41 PM, Jon Watte <[email protected]> wrote:

> I looked into Carmack's megatexturing approach, but it seems too
>> unnecesarily complex IMO, plus there are no tools available that artists
>> can use commercially?
>
>
> There exists a commercial implementation; it's called "id Tech 5" if I
> remember right :-)
>
> You really have two questions here:
> 1) Do you want unique texturing of everything?
> 2) What kind of view distance, level of detail, and memory requirements do
> you have?
>
> The problem with game art has always been, not creating "the art," but
> making the very best use of available technology. That has always been
> about knowing where the player will be, what the player will view, and what
> can be re-used versus not. Rust decals, stucco normal maps, trim, rocks,
> etc.
>
>

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Hi! Thanks for the answer!<div><br></div><div><blockquote class=3D"gmail_qu=
ote" style=3D"margin:0px 0px 0px 0.8ex;border-left-width:1px;border-left-co=
lor:rgb(204,204,204);border-left-style:solid;padding-left:1ex">1) Do you wa=
nt unique texturing of everything?</blockquote>
</div><div><br></div><div>Yes, Ideally, I&#39;d like to have a workflow tha=
t works like this. Probably either of these would work:</div><div><br></div=
><div>1) 3D Artist models a town, a section of a city, a valley or any othe=
r kind of scenery, but does not do the UV coordinate generation nor worry a=
bout how to split the scene in chunks.=A0</div>
<div>2) A tool does something to what was modelled, splits the scene in reg=
ions (octants or quadrants?) and generates UV maps for everything automatic=
ally.=A0</div><div>3) 2D Artist uses an existing tool for painting over the=
 geometry.</div>
<div><br></div><div><blockquote class=3D"gmail_quote" style=3D"margin:0px 0=
px 0px 0.8ex;border-left-width:1px;border-left-color:rgb(204,204,204);borde=
r-left-style:solid;padding-left:1ex">2) What kind of view distance, level o=
f detail, and memory requirements do you have?</blockquote>
</div><div><br></div><div>The usual consoles/mobile memory requierement i g=
uess. For optimizing work, i thought that in Step 1) the level designer cou=
ld place hint zones on where the player is expected to be, so for step 2), =
zones that are too far away could just use smaller textures and be bundled =
together to minimize draw calls and improve occlussion culling.</div>
<div><br></div><div>So, my questions are mainly.</div><div><br></div><div>f=
or 2), is there any algorithm recommended for doing the world subdivision a=
nd automatic UV generation (unwrapping?), I suppose it needs to consider th=
at</div>
<div>=A0 =A0 =A0 a) it should generate more textures if there is a larger p=
lolyhedral surface to cover in that zone</div><div><br></div><div><br></div=
><div><br></div><div><br></div><div><br><br><div class=3D"gmail_quote">On M=
on, Nov 26, 2012 at 6:41 PM, Jon Watte <span dir=3D"ltr">&lt;<a href=3D"mai=
lto:[email protected]" target=3D"_blank">[email protected]</a>&gt;</span> wro=
te:<br>
<blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1p=
x #ccc solid;padding-left:1ex"><div class=3D"im"><blockquote class=3D"gmail=
_quote" style=3D"margin:0px 0px 0px 0.8ex;border-left-width:1px;border-left=
-color:rgb(204,204,204);border-left-style:solid;padding-left:1ex">
I looked into Carmack&#39;s megatexturing approach, but it seems too unnece=
sarily complex IMO, plus there are no tools available that artists can use =
commercially?</blockquote>
<br></div>There exists a commercial implementation; it&#39;s called &quot;i=
d Tech 5&quot; if I remember right :-)<div><br></div><div>You really have t=
wo questions here:</div><div>1) Do you want unique texturing of everything?=
</div>

<div>2) What kind of view distance, level of detail, and memory requirement=
s do you have?</div><div><br></div><div>The problem with game art has alway=
s been, not creating &quot;the art,&quot; but making the very best use of a=
vailable technology. That has always been about knowing where the player wi=
ll be, what the player will view, and what can be re-used versus not. Rust =
decals, stucco normal maps, trim, rocks, etc.</div>

<div><br></div></blockquote><div><br></div><div><br></div></div></div>

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