Say you have a round tube as your high poly (black), and a chunky hexagonal tube as your low res (blue with green interior) your ray casts will miss at the corners (red).
You get wonky lines and little dark dents where the rays hit unevenly
A couple of tricks to avoid this.
You can add more divisions into your low capture mesh so it clings to the high evenly, do the bake, then remove those extra edges in the actual game asset.
You can avoid baking the edge of the tube (black crosssection) by extending the high res a little up (blue), baking it and cutting the low mesh (green) at the texture edge ( yellow), and bake the tops (fig 3 seperately flat.
Or you can not bake it at all, and use a trim sheet with a precise bevel on it, and uv map that so it aligns with your edge, giving you perfectly crisp, straight trims.
Another trick is to use NO baked normal maps and instead add a thin strip of polys and orient the normals to the larger faces (face weighted normals)
The latter lends itself very well to ME for close up LODs because they are mostly hard surfaces or thick materials. Face weighted normals look crisp at any resolution, and you only really need it for the upper shoulders neck guards and sheps back details where the camera aims
It wouldn't force the model into reskinning either, as you can usually project weights easily enough.
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A video game that simulates #ADHD. The mission objective changes at random every few minutes and whenever you walk into a new room, your inventory shuffles one item and sometimes it becomes invisible for a few minutes.
You auto steer into table corners.
Whenever you get more than one sidequest there is a chance you go into overwhelm and your controller will pretend it is unplugged.
The corners of the level starts filling up with laundry.
You put down an item and it vanishes when you look away.
You have timed missions but during loading screens that can dramatically shorten by an hour or five.
In Life Is Strange Before The Storm, one truth Rachel Amber tells Chloe during "two truths and a lie" that she is a Leo.
The brilliant thing is later if you pay attention, her birthday is the day after Leo ends. But her starchart has her on a cusp.
This is brilliant.
The series has a few moments of absolutely brilliant subtle clues in it that add layers of meaning, but you have to be sharp to spot them.
But if you miss those, there are still blatant clues around the place that give some level of depth.
The main mysteries of the game aren't hard at all, probably to a fault, but on replay there are far more little ones.
A technique I highly recommend to #gamedev artists is to look at actual shipped game assets.
There are various ways to get hold of them, such as programs like Ninja Ripper, Utiny ripper or via archives.
And I must stress this is for learning purposes ONLY. NEVER use them.
Being able to look at models from a wide range of titles, see how they are rigged, how their Uvs are layed out, the triangle count and modularity... it all helps you understand the ACTUAL end result you are aiming for.
I think it is really important that students bridge the gap between where they are at, and what the end products are at.
You may think "oh, the models in X game are super high end, high tech stuff" but when you actually crack it open and examine it in your DCC...
There is no future for humanity in a world where all human endeavour is stolen and boiled down to something that replaces humans.
What do humans do in a world where humans are not employed to create?
Is that a world you want to live in?
If you take away the creative process of human artists into pool, the zeitgeist becomes entirely manufactured from an ever decreasing pool of looping cannibalism.
Pop literally eating itself.
Endless product without exploration. Product feeding on product.
No art movements, no re-evaluations of our place and relationship to the world.
Draw calls are responsible for a good 50 percent of the chugging issues I have helped games with.
A draw call is "okay now draw me an apple, and come back when you are done for the next instruction."
Then you ask for another apple. Then when they return you ask for another...
So the GPU is running back and forth to the CPU when it could just do that once and "draw me a pile of apples".
Rendering an apple, in this example, takes a tiny amount of what a core on the GPU can render. So by welding all the apples into one bigger mesh, it can be done faster in one draw call than all the fucking around to draw them one by one.