Hi, Really? I'm a bit curious though - What exactly is the "Reflection texture" node in the center? I'm not sure how the second shader was done! Seems quite advanced. Hi, Ok I see, thanks so much! I'll keep you posted for any other ideas!
Actually I want to make a shader in shader forge like a mirror,do you know how to realize? Yes,I have read the topic,but I still don't understand how to create a shader like a mirror which can reflect all things near the object.
Not just reflect a picture,but the environment, you know? Yeah, I believe that's what it does, but it requires a special camera setup and C script to accompany the shader. Could you show me an example? I'm afraid I don't have the time right now, but I do recommend taking a look at Unity's water shader in their Standard Assets package. But Unity's water shader can't open in Shader Forge You must give the asset a package name new or existing and a Group name.
For some texture types such as normal maps you will need to change the compression settings. Note that the engine will crunch the texture down to an 8-bit grayscale image using the Alpha Channel as the source not the RGB channels.
CompressionNoAlpha For optimal compression, set this to True if your Texture has no Alpha channel or if you wish to discard the Alpha channel.
If your texture does have an Alpha channel, be sure to set this option to False NOTE : When importing a texture, the original source file also gets imported. This allows you to change your mind and increase or decrease the amount of compression at any point.
If you need to change the settings of a texture after it has been imported you can right click on the texture inside of the content browser and select Edit Using Texture Viewer. This window contains options for changing the compression and LODGroup settings.
Creating a New Material Once you have your textures in the content browser you can create your material. Right click in the black space in the center of the content browser and select New Material.
The Material Editor In the material editor you can hold "T" and click in the black space to place a Texture Sample node using the texture currently selected in the content browser. This will give you a basic surface that has bumpy details that react to light. Right click and select Utility, BumpOffset then connect the red channel of your mask texture to the height input of the bump offset then connect it's output to the Diffuse and Normalmap texture coordinat's inputs.
To get a basic specular response on the material you can connect the diffuse texture to the Specular Input. To achieve a more elaborate specular response you can create a scalar constant by holding the "1" key and clicking in the blank area.
In this section I will discuss the methods that can be used for reducing texture, shading, material and physical seams in UDK environments. In this section I will discuss the process of planning and designing the textures for your environment in a way that will allow you to hide the seams with ease. The first step for reducing seams in your environments is to divide the types of your assets into three categories; structural, mixed and organic.
Normally, you may think of organic assets as objects that have irregular shapes, such as rocks or trees. Here however, we will make the distinction based not on the shape of an object, but on the type of a texture that it will use. As you can see, thanks to matching the edges of the UV charts to the lines in the texture the seam is no longer visible:.
It must be mentioned that this technique is not a universal solution. Its efficiency will depend greatly on the shape of your object and the details found in your texture. However, given that you plan your meshes and textures accordingly it will help you reduce a great number of texture seams in your environment.
One of the most efficient methods for hiding texture, material and shading seams on buildings is to use trim geometry. For this project I have created a separate texture sheet that contains multiple trims. The trims have been made to match the grid in 3Ds Max which had been set to the power of 2 , making the meshes easy to model, unwrap and reuse. Like the bricks, the indents in the texture were painted with a dark colour.
Since the structural details in both textures were made to follow straight lines, trims can be used quite easily to remove the horizontal seams between multiple materials or to hide differences in shading.
Here is an example of a trim that blends in with the wall texture. However, as you can see trims work only if the texture information is aligned with the texture seams.
The roof texture has a slightly random pattern and because of that the seam remains visible. Similarly, if you place the trim vertically, it may no longer match the details of the neighbouring textures. There are however ways to reduce visibility of those seams. One of the ways to cover the seams that appear when texture details cannot be aligned is to create indents in the surface of the mesh.
By placing seams inside the concave areas we can make seams more difficult to spot. In most cases, simply making indents is not enough. First, you need to open up the material editor and ensure that all your materials are set to Show Standard Map inside Viewport, instead of Show Hardware Map in the Viewport. Next, right click on your object and open up Object Properties menu. In this window, find the Display Properties section and make sure that your settings are the same as below:.
As you can see, I have the Vertex Channel Display option enabled, the Shaded mode is selected and Vertex Alpha is chosen from the list. If you want the shaded areas to have some colour, you may want to choose Vertex Colour instead of Vertex Alpha. Once your scene is setup properly, you simply need to select the vertices within the concave area, scroll down the Modify panel and find the Vertex Properties section. Then, simply change the Alpha value to 0.
If that turns out being too dark, we can modify this value later on in UDK. One of the key problems with using lowpoly geometry is maintaining smooth shading without adding too much geometry to your mesh. Very often, you may find it necessary to assign sharply angled surfaces with different smoothing groups to prevent excessive smoothing. Using different smoothing groups however, splits the vertex normal of the mesh and results in visible shading seams.
Furthermore, applying multiple smoothing groups may essentially triple the vertex count of your object when rendered in the engine. The solution to that problem is to rely on single smoothing groups as much as possible, bevel the degree angles and modify the vertex normal of the mesh.
The benefits of this technique are shown here:. The problem with using this technique for regular modelling is that the Edit Normals modifier featured in 3Ds Max is not very efficient. The script along with its installation instructions can be found at Polycount Wiki. Alternatively, if you are using Maya you might be able to get similar functionality from the mig Normal Tools.
With this technique you can easily remove some of the shading seams without any increase in the vertex count. In some instances, you might end up with a lower vertex count as sometimes not all sharp angles have to be chamfered. Removing seams becomes more difficult when an object uses a texture that features a mix between structural and organic details. Texture seams cannot be easily hidden via smart unwrapping or adding vertex alpha, while using blending will produce unnatural results.
To counter that problem it is often necessary to create a tilling decal texture that can be applied to the areas where the seams occur. The images below show an example of a decal texture and how it can be used to hide the seams on semi-organic objects. Modelling the decal mesh to match the shape of the base mesh is not difficult.
First, you need to model your mesh as you would normally. Then, you need to cut into the surface of the mesh, creating an area which envelopes both the top and the sides of your wall, as seen below:. Once it is done, you will need to select the polygons within that area, scroll down the Modify panel, click Detach and choose Detach as Clone.
You should end up with a mesh that looks like this:. Next, you will need to select the vertices on both sides of the UV island and straighten them. Once both sides are in perfect line, move them in such way that they remain in the black area of your transparency map. Doing so will ensure that transparency mask envelopes the sides of the wall. If the edges of the UV island are not aligned properly it is possible that seams will become visible. Alpha masked decals can be also used to cover the seams between uniquely mapped objects and meshes that rely on tiled textures.
In my environment I had several smaller props, such as windows, which intersected with the walls. To cover up the seams between these objects I have added a thin and rough outline, which is meant to fake the cuts in the bricks. To achieve similar results, you will need to create a black and white opacity map that extends beyond the boundaries of the elements in your texture.
Here I have made the mask roughly 5 pixels bigger than the windows and door and then, used the Eraser tool in Photoshop to give it jagged appearance. Once your opacity mask is done, you will need to extrude the outer edges of your object and position them directly above the surface of the object it is intersecting with, as seen below:.
Doing so however will produce texture stretching. You will need to fix the UV's of the newly made polygons. Simply open up the UV editor and move the newly created edges so that they are positioned in the transparent black area of your textures. Now, your object will have a thin outline that creates a more complex transition between the two objects. However, you should keep in mind that this technique is best used on larger and more important objects.
Here the effect is very subtle, but on larger objects, such as pieces of debris scattered across the ground, it can have a large impact. In this case, the World Aligned Texture function uses Grass and Rock textures as inputs, along with two parameters which modify the scale of the texture.
The values of 64 correspond to the size of Unreal Units. Blending between the Grass and Rocks blocks requires an input. Usually you would want to use Vertex Colour as a way for blending between multiple texture layers. Instead we must use a unique, black and white texture to act as a mask for texture blending.
Next, we need to build our lighting network. The process of rebuilding the Phong Lighting model is described in greater detail on Unreal Developer Network.
For the sake of simplicity, we will be building only the section of the network responsible for the Diffuse Lighting. First off, we need to add a Normal Map, just like the one you can see below.
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