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I first had to author the geometry of the tree itself, and then assign the level of hierarchy for every polygon of the tree using the green vertex color channel.
I did this using Autodesk Maya, with some small scripts I was able to set up all of the LODs of an asset in minutes.
They are texture masks that would help determine where in the geometry the pivot of the branch be.
We used this for the branches that used hard alpha textures for geometry. Here is an illustration of this mask.
With all this information prepared, I could use the C script that would input my tree prefab, and generate a new prefab with the pivot information of every vertex baked in.
After adding a WindControl object to my scene, I can import my tree in the scene, and start playing with the material properties. You can see that each hierarchy level has a range property basically the length of the trunk, or branches and an elasticity property.
There are also some properties to set up wind flutter animation. They add a bit of procedural noise to the vertex positions, to imitate the vibration of the branches when the wind blows on them.
Last, but not least, we had to make the wind sound FX influence the wind animation. The volume of the sound is driving the wind strength of the animation.
It is really surprising how a simple idea can add to the project. If you have not done it already, you should open the project and walk around.
You will notice the trees and all the grass around shaking when you hear large gusts of wind hit your surroundings. When targeting the level of detail and density of a project like Book of the Dead , it was important for me to think about how I was going to structure the level, to avoid performance issues later in production.
One of the things I tried to be careful about, was to limit long view distances in the scene. This video shows the Occlusion Culling Visualization, and you can easily guess where the camera is looking at from the top view.
You will also be able to see that some objects are not culled, those are mostly the really tall trees, some over 25 meters tall, that have a very large bounding box and are therefore hard to cull behind the cliffs.
The HDRP Layered Shader allows blending of layers using their heightmap texture, so the result is better than the linear blend that comes with the legacy terrain shader.
In this animation, I am simply changing the different layers height offset. This is, of course, a temporary solution, and not properly integrated in the UI.
These layers are there mainly to help you paint the different layers on the terrain. They are not used for rendering the terrain, except for the tiling settings.
Instead, look for the material applied to your terrain, and you will find all the textures and the material properties that affect the terrain.
If you want to create a new terrain and apply different textures on it, you will need to duplicate this TerrainLayeredLit material and assign it to your new terrain.
You will also need to create those 4 textures sets in the Paint Texture tab. It is also there that you can change the tiling properties of the different layers.
Also, to be able to fully use the LODGroup feature, all of the assets placed through the terrain are setup as Trees, and not detail assets.
But actually, this project has a really high amount of assets scattered on the ground: grass, bushes, plans, wooden twigs, rocks, etc.
With all of this, the terrain can be fairly simple, you can see below that in this particular shot the terrain is just a simple tiling material. When you walk around the level, you will notice in places a very large amount of small twigs and pinecones scattered on the ground.
Those are not really that obvious when you simply walk around the level, but they really bring the level of detail of the scene when you start looking at the ground.
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