Warrior's Pilgrimage Project
Warrior's Pilgrimage Project
*latest update ( see below images )
Trailer
https://www.youtube.com/watch?v=6l3q_jKhy2g
so as promised this is the gameplay download Link
Gamplay Live Fotage
https://www.youtube.com/watch?v=WvQeQK3ELeo
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my name is Arif Pribadi , me and my teammate , Audrey Wong , currently working on a "game" project in University of Herdforshire .
this is our current team structure
*we will looking for employment pretty soon ( after may 25 2016) 
*update note , what we posted in polycount here is the latest update, because it is not possible to post everything in one shot, if you curious on how it started and how we make the project from scratch you can check out the 3dhit thread
http://www.3dhit.co.uk/?showtopic=27492
here is some short Backstory
The Player play as the Hero character who goes to a small peaceful village in the middle of the mountain landscape to get his blessing on the local temple . But something is not right, there’s seems to be something waiting for him inside the temple...
and some technical detail on how the game going to be
Warrior's Pilgrimage is a 3rd person game, it is an interactive / playable art. so there is no real gameplay.
the Project is using Unreal Engine
these are some of the latest scene and assets screenshots
just in case if you curious about the breakdown,
depending on what asset, but this is our most method to speed up the development 
Audrey will also post some more screenshot
Replies
Couple of questions if I may. For your assets, each one got a unique texture map done in substance designer? You don't utilize vertex painting for example to blend 'generic' tileable textures together?
Is the foliage done in SpeedTree (or a different foliage generating program) ?
How long have you been working on this? (based on images shown here)
Keep it up!
for the unique object, the material is much more simple than the wall of the house or some other object.
ideally bigger object always uses tiling texture, while smaller object uses unique texture .
probably Audrey Wong @audreee can explain more how the Unique texture being made. ( since she did the finishing for most of hard surface and statue asset )
performance wise, it always better to have less complex shader on the scene, but we just team of two , so yes some object uses
vertex blend and pixel normal
this is the demonstration on how the moss works , it is always facing up, but you still can vertex paint it
the tree is a mixed between NgPlant and Manual modeling. the interface might look like so cheap but it do the job .
this is one of the test ( although this one is manual modeling )
for the wind,
i would like to use pivot painter, unfortunately, I dont have time to re-do my wind shader, so i use blue vertex channel to do simple directional waves.
while red do the smaller wind variation. even though i manage to get proper pivot painter shader work, I still need to manual laobr again in 3d ap which is much more time consuming than bake gradient blue vertex color .
overall the method is not too orthodox, as long as it works, we will use it. substance , hand painted and photo sourced.
very minor experiment with photogrammetry , ( you guys probably already seen this while ago in polycount ), only used for one tree texture though, due to quite time consuming to go outside and take proper photo
we started since Mid of October 2015 ( and still on going , finish date TBA)
ps : this is one of the early concept, not super industry standard quality ,but at least it gives us initial idea on how the map layout look like
how are you guys today? finally after rebakes and re-skin/rig I can move on to another asset
( i also fixed the arrow and camera height after this footage was uploaded )
one of you asked me about the foliage pipeline and how to optimize it,
honestly it is not as smooth as 60 fps
but you can try this :
- removing shadow from material
- have some LOD
- use billboard tree for last LOD ( you have to fake shadow in diffuse texture )
- use level streaming, and separate your Landscape by level area.
etc .
for open or semi open world foliage or tree wont be useful occluder, so you have to rely on LOD, volume culler and distance culling.
for billboard tree ,don't bother on follow camera sprite or special shader/blueprint, just use two planes just like in this image , make fake shadow on diffuse map , just like an oldskool game
*the image below is not our tree but uses similar concept
so what next? we might release the Playable demo or detailed walkthrogh video pretty soon. ( still double checking the bugs and minor polishing)
meanwhile this is the latest images
for this area we changed the role abit, I did sculpture for outdoor temple elements, while Audrey focusing on the cave statues and main interior shrine environments
as the cave ground dust we use unreal weather pack
I particularity enjoyed the video showing how you achieved the fluffy looking foliage.
haven't post on this thread for a while,
this is our final major update for this project, thank you for all the comments really appreciate it
so as promised this is the gameplay download Link
Gamplay Live Fotage
also dont forget to check out the first article at 80 LVL
however, we will take note, on how we going to improve ,
so if you find any issue or bug just don't hesitate to post on comment section.
Audrey WOng will post our Second Article which is a bit more detailed
PDF link
https://drive.google.com/file/d/0B3VqhGtBQamXakpxTmtxNWdoVDA/view
Power point version with animated gif (better but larger file )
https://docs.google.com/presentation/d/1gJm4nzBfRhHAXiPV8VqrVmdjNf5pZxks6wGTpDwwv_M/pub?start=false&loop=false&delayms=3000&slide=id.p
I'll say that I think the camera is way too close to the player and produces some motion sickness for me due to the acceleration. Compared to The Last of Us your camera is quite a bit closer to the character, and the Last of Us really cramped things up with the camera at times. Compared to say Uncharted, Gears of War, and Tomb Raider your camera is way closer.
Currently your camera placement is more in line with horror games such as Resident Evil 4 and Dead Space in my opinion. Based on what you all have shot for in terms of art design you might want to reconsider the camera placement.
One other thing I noticed is the tessellation breaking open the terrain near the edges of the screen. I had the same issue a while back on a tessellated terrain. Turning the max displacement up and turning crack free displacement on fixed that issue for me.
- will totally favor that far camera in next project, tbh i choose this cam to mask my animation mistakes.
was unhappy with the walk pose when i tried to zoom out the cam. - but for sure many people already talk about the cam
- yeah had couple of tessellation issue ( in inside the cave too ) , I believe i checked crack free disp, and it still there , so that why i stopped looking at my terrain mat, but i could be wrong. thanx to point out . but my biggest suspicion is mostly on the tessellation quality level , because i set it to really low at the moment , ( 0. something )