you got me at "with the vertex paint data". with few vertex, how can you achieve quality? or its not using the vertex at all ? Its just blending the texture using a mask through shader?
But in that example, isn't a different mesh over the pebbles?
you got me at "with the vertex paint data". with few vertex, how can you achieve quality? or its not using the vertex at all ? Its just blending the texture using a mask through shader?
But in that example, isn't a different mesh over the pebbles?
I'm not sure what is happening there exactly in that image. But I'm sure you can do the exact same thing as in that image by doing so. That ground piece can have a world position texture to it, and have the same texture in your sidewalk material. Bring up that piece until it intersects with the sidewalk then vertex paint the sidewalk and same texture appears on it. You'd be thinking it's the ground piece continuing on the side walk but it's not. Vertex count doesn't matter that much here. a dozen would be more than enough.
from the image and description, it looks like plain heightmap vertex blending.
I found some more info on the topic. @kernersvillanmentions how he used Pixel Depth Offset to create the blend between 2 surfaces.
The result looks pretty damn good:
Also, I found this blog where the artist shows how she managed to do the blending, which looks like what @bugo mentioned on blending through a 2nd UV set.
Anyway, I'm about to try RyanB's method, just waiting for UE4 to update.
Just to note Maximum Dev that RyanB was proposing not to get the light vector with BP (so he could rebuild the phong shading), he was suggesting an entirely material based solution, using an extra landscape layer with tangent normals switched off (by switching them off in the entire material, and having the normals that do require tangent space switched back on with a transform !!!*"*I THINK*"*!!!)
I was at the Battlefront talk and asked about the blends - that line: "Texture Arrays projected and details match." - what they mean is that the detail texturing on the meshes gets scaled to match the terrain. It's a global scale. So, no matter what size a rock is scaled by the LD or level artist, the blend will always be detail textured at the same scale. The same goes for the detail texturing on the surface of the rock.
The detail texturing is applied according to masks and can use multiple material channels, so it's very powerful. When the lighting and normals are matched, there is no seam at terrain intersections. Regarding the matching, they said "this is just a feature of Frostbite."
The irregularity of intersections with meshes and silhouettes is due to hardware tessellation, which they used extensively on terrain and meshes, but only at very close distances. Terrain displacement disappears at 15m and mesh displacement disappears at 7m.
GlowingPotato- Maximum-Dev explained pretty well what I've done there. There was only few vertexes, vertex paint, mask and same "transition" texture of sand in all materials. The trick was that I used world uv's, world scale uv's, world position...I don't remember the name, but this thing instead of object's uv's; that's how transition was seamless.
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But in that example, isn't a different mesh over the pebbles?
I'm not sure what is happening there exactly in that image. But I'm sure you can do the exact same thing as in that image by doing so. That ground piece can have a world position texture to it, and have the same texture in your sidewalk material. Bring up that piece until it intersects with the sidewalk then vertex paint the sidewalk and same texture appears on it. You'd be thinking it's the ground piece continuing on the side walk but it's not. Vertex count doesn't matter that much here. a dozen would be more than enough.
I found some more info on the topic. @kernersvillan mentions how he used Pixel Depth Offset to create the blend between 2 surfaces.
The result looks pretty damn good:
Also, I found this blog where the artist shows how she managed to do the blending, which looks like what @bugo mentioned on blending through a 2nd UV set.
Anyway, I'm about to try RyanB's method, just waiting for UE4 to update.
The detail texturing is applied according to masks and can use multiple material channels, so it's very powerful. When the lighting and normals are matched, there is no seam at terrain intersections. Regarding the matching, they said "this is just a feature of Frostbite."
The irregularity of intersections with meshes and silhouettes is due to hardware tessellation, which they used extensively on terrain and meshes, but only at very close distances. Terrain displacement disappears at 15m and mesh displacement disappears at 7m.