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Advertisement Book of the dead is another point and click spot the differences type game from Max Games.
Point and click out the differences to advance to the next level. Click on the seven things you find different from the two images to advance your character to the next stage.
Can you figure out the mystery of the dead? Good luck and have fun! Play This Game. This is insanely hard, On scene in locker room with 2 guys with guns, one difference left.
I'm totally stuck on the gunmen in the locker room. The twigs are simple cutout planes with an alpha material. We added physics capsule colliders to them.
The script will first spawn the desired quantity of those scatter objects around a transform position, and then simulate physics for them to fall down on the ground, colliding with the terrain and all the others assets rock, dead trunks, etc.
Side note about this tool: For the twigs and other scattered objects to fall properly on the ground and other assets, you will need to have quite high-density mesh colliders on all the assets in the scene.
For this reason, most of the assets in the scene have two different colliders: One light to be used at real-time in play mode by the PlayerController with the Default Layer assigned.
The Book of the Dead: Environment project is using baked indirect global illumination with real-time direct lighting. Both the indirect lighting from the sun and direct plus indirect lighting from the sky is baked into lightmaps and light probes.
Reflection probes, occlusion probes and other sources of occlusion are baked as well. Direct sun contribution, on the other hand, is real-time lighting.
Shading in the HD Render Pipeline looks best when using real-time direct light, and it also gives us some freedom to animate the rotation, intensity and color temperature of the directional light at runtime.
Baked lightmaps are used mostly for the terrain and a few other assets, but we preferred to use a combination of light probes and occlusion probes for all the rocks and cliffs in the project, as they provide better results for objects with sharp angles and crisp normal maps.
Lighting a dense forest is something tricky to achieve in real-time. Using a single light probe per tree would give it uniform lighting from the bottom to the top.
Once it is set up, you will need to bake the lighting of the whole scene. The occlusion probes will be baked during that process.
Each probe in the 3D grid samples sky visibility by shooting rays in the upper hemisphere, and stores it as an 8bit value going from fully occluded 0 to fully visible 1.
Probes unlucky enough to have landed inside trunks or rocks will be fully black. To avoid that darkness from leaking out, they are marked as invalid and overwritten by neighboring valid probes.
Since the probes sample how much of the sky is visible, they should only attenuate direct sky contribution. For this reason, the lightmapper is set up to exclude the direct light contribution from regular light probes, and then probe lighting is composed as light probe plus direct sky probe occluded by occlusion probes.
This way we can have tons of cheap occlusion probes sampling small details of how foliage occludes the sky, bring depth to the image, and very few more expensive light probes sampling slower changing indirect light.
If you want to have a clearer picture of how they affect the scene, you can also use the SkyOcclusion Debug view. The occlusion probe API for baking occlusion probes and excluding direct sky contribution from light probes has been added to Unity We ported and re-used the Atmospheric Scattering solution that we originally developed for the Blacksmith demo.
Our Senior Programmer Lasse Jon Fuglsang Pedersen has extended it to make use of temporal supersampling, resulting in a much smoother look.
It allows you to have materials with sub-surface scattering, or—like used for all our vegetation in this project—a more simple translucent material with only light transmission.
Note: Our team added additional sliders to control separately the direct and the indirect transmission to have more control over the final result.
Their function is to drive object properties depending on the position of the Main Camera object. Several objects, including the Directional Light, the Atmospheric Scattering, Auto Focus and the WindControl have their properties driven by Area Volumes, so if you want to change the current lighting setup, for example, you will need to do that in the corresponding Area Volume.
It is a really useful tool when you have some objects that are not rendering correctly or any other visual bug. It will help you pinpoint the source of the issue a lot faster.
The best part if that is that those debug views are generated automatically from your shaders, and coders are able to create new debug views quite easily.
Some of the debug views available through the Render Pipeline Debug window. Our hero is going to deal with ghosts and demons instead of witches, and the kind Abbot Dick will become an opponent instead of a friend.
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