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In questo nuovo video di Star Citizen, Chris Roberts e Sandi Gardiner spigano nei dettagli la creazione delle lune procedurali e fanno il punto sullo stato dei lavori.
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00:15Hello and welcome to another episode of Around the Verse, our weekly look at Star Citizen's
00:20ongoing development. I'm Sandy Gardner. And I'm Chris Roberts. On today's show,
00:25we'll be visiting various moons and planets to show you how our procedural planet tech works.
00:31Yes, but before we go exploring, let's head to our UK office for their latest Studio update.
00:37Hi everyone, and welcome back to the UK for our Wilmslow and Derby Studio update. Our focus over
00:41the last month has been on getting 3.0 to everyone as soon as possible, as well as continuing our
00:46ongoing work for S42. For 3.0, we've been closing down the remaining features and much of the team
00:50is moving on to bug fixing, polish and optimization tasks. So let's start with what's been happening
00:55on our technical sprints this month. On the programming side, we've been helping with the
00:59Copa Experience Sprint with the goal of making the feeling of sitting in your ship much more
01:03dynamic. Some of this is incorporating psychological effects such as blackout and red out into the
01:08actor status system. So it's all controlled by one system that can influence things such as players
01:13breathing and stamina. This sprint is also improving the g-force animations, player hit reactions,
01:20and the ship gets a dynamic impulse. Close combat is coming on very nicely. We've been working on
01:25some great knife-based takedowns and unarmed takedowns, as well as working with design and
01:29animation to make it all look and feel extremely satisfying. One of the less visible but fundamental
01:34underlying pieces of technology is the new actor status system, or actor 2.0, and we've nearly
01:39completed converting all the old player and actor code over to the new system. Whereas previous
01:44setups just inferred actor states from other variables, we now have a much cleaner interface
01:48for serializing between the server and all the clients. All told, it makes writing new player
01:52features much more straightforward and makes the code much more reliable. We've also been
01:56working on incorporating the brand new patching system into our internal copy build 3 tool
02:00that was developed over in Frankfurt and Austin. Now it's past QA's approval we've started
02:04doing a limited rollout to the dev team to carry on flushing out any issues with it. So
02:08far it's looking pretty good, and the people using it are really appreciating the reduced time
02:11it now takes to grab the latest build. Moving on to the graphics team, the new render detection
02:15system has been a key focus this month. One major issue of this tech has been the hologram
02:19system, which will be used for mission briefings, comms calls, mobiglass, and many other situations.
02:25The render detection system will be used for all our new user interfaces, and we're also
02:29aiming to use this for live rendering of video comms calls from other players.
02:32Our exposure control system had an upgrade to deal with the enormous contrast of lighting
02:35in space. The system now takes light from your peripheral vision into account and so
02:39should no longer overly bright the screen when looking into space when you are near bright objects.
02:44The graphics team have also added a host of new features to the GPU particle system, such
02:48as lighting, turbulence, and anti-aliasing. They'll be used as many cool new effects in
02:523.0. The concept team has firstly been focusing on ship weapons, we have worked on the Amon and
02:57Rhys laser cannons S1 to S6, and the Klaus and Werner laser repeater S1 to S6, along with
03:03some associated VFX. On a smaller scale, but just as important, we've taken the Gemini
03:08manufacturer and created a slick looking heavy machine gun with the iconic cooling system as seen
03:13on other Gemini guns. This month, we talk on our sixth member of the concept team, who's
03:17looking at areas of Stanton's system and more specifically, Orison, while also supporting
03:22additional needs on Squadron 42 locations. As ever, we continue to search this universe
03:26far and wide for more talented artists. The environment art team has been building some
03:29exciting prototypes for procedural cities. This will allow us to create vast cities and landing
03:34zones and planet surfaces for the Stanton system and beyond. Work continues to flesh out texture
03:39of space and to provide a greater palette for the artists to make space travel interesting
03:43and at times support the narrative in both the Persistent Universe and Squadron 42.
03:48One specific element is our new Spacestar shader, allowing us to add large volumes of spacestars
03:53to the Stanton system for the 3.0 release. Yellow's asteroid belt has also been improved, which
03:57once again makes use of the new shader type.
04:01All the major outpost archetypes have been finished. This includes dressing for different corporate and
04:05independent companies for various functions such as mining, hydroponics, habitation and storage.
04:11It also includes some additional unique varieties such as emergency shelters, abandoned outposts and
04:16gang owned outposts too. All outpost doors and airlocks have been switched to the door 2.0 system,
04:21meaning that they can interact with different rooms, power systems, oxygen, overrides and hazards.
04:25Outpost clusters and additional exterior elements have been finalized. This includes outposts, landing
04:30paths, paths, power modules, water collectors, weather stations, relay stations and exterior lighting.
04:35The branding prototype has been completed so now outposts are represented by several different
04:39corporate companies as well as independents and gangs. Planet surface integration is ongoing.
04:44Sand, dust and frost materials have been finalized to help blend the outposts into the moons.
04:48Decals have been used to add an extra layer of dirt buildup and have also helped to blend in the
04:53exterior landing pads and props. The team have finished all pre-polish and optimization work on the
04:58exterior truck stop pieces and have moved on to finish the interior. The main hub is currently
05:02being worked on based off concepts from art direction and additional pieces have been made to add more
05:07of a truck stop character. Props and lighting are currently placeholder. The side shops and corridors
05:11have had a first pass on them. The platinum base shop is having its own building set made for it
05:15so it looks more distinctive and an admin office has been created so players drop off packages
05:19relating to missions. Finally an observation room has been blocked out facing the landing pads
05:24so players can watch the comings and goings of other players ships from the interior of the station.
05:29Also admin offices have been added to other standard locations such as Port Alasar and Grim Hex.
05:34All the 3.0 locations have been updated with a new door and airlocks 2.0 system and two new
05:39shops have
05:39been added to Grim Hex. One is an independent ship's part trader and another Technotic is an old
05:45electronic store that may house a mysterious character. On the UI front work has been cracking along on the
05:49the new MobiGlass UI and all the other various new apps that will become available for 3.0.
05:54Last month we successfully integrated the MobiGlass and Kiosk UIs using the new rendered
05:58detection tech and the visual result proved promising in further achieving the look that the team is
06:02after. In addition we've been working with the VFX team to couple particle effects and lighting to help
06:07ground the UI projection within the game world environment. As part of this we've been working to
06:11drive the second multi-disciplinary sprint for the StarMap app. The goals of which are to
06:15implement the remaining functional requirements for the 3.0 release as well as improve upon the
06:20general visual fidelity and user experience from previous iterations. This involves focused
06:25collaboration between art, VFX audio and engineering teams to helping together a refined experience.
06:31We've also wrapped up work on implementing the basic functional requirements for the new
06:35Mission Manager app allowing players to view information on available missions as well as allow
06:39players the ability to accept, track and abandon missions which have been accepted as well as view
06:44a log of the previous missions which have been completed or attempted. Along with the work on
06:48the item 2.0 ship conversion we've started to implement the new pilot multi-functional displays
06:52which refounds the UI of previous iterations and adds new information as well as capabilities
06:57in managing your ship systems. We've also been helping with the recent doors and airlock sprint
07:01where we help to design and implement new status displays for the various airlocks throughout the
07:05system which also utilizes the new render to texture tech. The audio team has been involved in lots of
07:10different sprints and pipelines as usual this month. Weapon audio completed work on weapons
07:14such as the railgun and having made steady progress on derelict ship audio and the interior ship audio for
07:19the javelin. The team is also helping to finish up the active status system so that the breathing
07:25from the player works alongside dialogue more intelligently and a new outlaw music logic
07:29set was completed which will be reflective of the player's reputation system. Also various locations for
07:343.0 release have been revised and improved in terms of environmental and ambient sound with members of
07:39the audio team even attending a character-based sound recording at Shepperton studios. The animation
07:43team has been working closely with gameplay programming to continue development of the takedown kill
07:48mechanics. Weapon improvements and tweaking continues across the board for the upcoming 3.0 release.
07:53The jump mechanic is receiving some love to get a more flexible system to cope with various
07:56environments and gravity states. Mobiglass has been moved from a look pose to an aim pose to allow increased
08:01functionality. We've also added in some extra animation to the enter and exit states to make
08:05it feel more connected to the player. AA combat assets continue to be exported and tested where
08:10possible in-engine. We've also been continuing the export of cinematic scenes for design to implement
08:15in-engine. The Derby studio has been busy on 3.0 mission givers. Both are coming along very nicely
08:19and it's exciting to see life being added to the PU. Facial animation is still being produced by the team
08:24for
08:25S42 and future PU releases. The mocap guys set up the system for a quick shoot in the new office
08:30space.
08:30It's great to see such a quick turnaround of the data from shoot to in-game in a matter of
08:35days.
08:35There was another quick audio head cam shoot earlier in the week for some last-minute pickups
08:39for 3.0. The facial data is already edited and in production. As always the ship team has been up
08:44to a lot this past month. Working the derelicts is coming to a close for this phase. We have the
08:48Starfarer, Caterpillar, Constellation and Freelancer ready to be used in various gameplay missions,
08:53both in space and planetary locations. The underlying tools to allow placement correctly on planets,
08:58so that the ship components and wreckage all conform nicely has now also been implemented.
09:02This will allow for some well-crafted artist driven derelict sites while maintaining the
09:06ability to use those sites on various types of terrain. Coinciding with concluding of the derelicts
09:10is a bug fixing pass sorting out any issues such as collision or minor art tweaks. On the whole
09:15scene the team has finalized geometry on the folding section and blocked the materials. We are
09:19currently in the process of finishing the mechanical rig and making sure it all operates smoothly without
09:24any collisions. The front of the interior has now had an initial lighting pass and has been
09:28continually tweaked to help areas gel together. The rear of the interior has been blocked out and
09:33is now getting a modelling pass and a room-by-room basis. Work on the Eclipse is well underway with
09:37focus currently on the cockpit. Extensive work has been done on the dashboard collaborating with other
09:42departments to make sure that the layout is appealing and the monitors are legible. With a new item 2.0
09:47push it's important to place buttons and switches within the player's arms reach to create further
09:52interactivity and immersion. The landing gears have been fleshed down and work on the wings has begun
09:57starting from the outside working towards the centre of the ship. Work on the reclaimer is almost
10:01complete with only three rooms left to go through final art. This month we've wrapped up final art on
10:06the cargo room as well as the main lift. In both cases we try to maximize the space to allow
10:11for
10:11easier transportation to cargo. A huge amount of effort is going to make the cockpit functional in a tight area.
10:18We've implemented retractable screens which fold around the player when seated and we were hugely
10:23excited to see the tractor beam seats transition from concept to final art and we're really looking
10:27forward to seeing people using them in the verse. The team has also been busy working on the bridge
10:32area and the bridge lift which provides access to the lower deck. Well that's our update for the
10:39month. I hope you've all enjoyed seeing what the team here in the UK as well as the rest of
10:42the
10:42world has been up to. As always thanks for all your support and allowing us to make this great
10:46universe and of course thanks to all our subscribers who provide for us to be able to do these updates
10:50for the community. Take care and see you all in the verse.
10:57All the UI is looking pretty cool and coming along nicely. Searching the star map from your mobi will not
11:03only be helpful but also is a great way to show the vast size of these systems.
11:07Yeah they're pretty huge as you can see from the sort of star map demo and also the mobi glass
11:14refactors coming along really nicely. There's going to be a whole bunch of functionality and apps
11:17that you'll get in 3.0 that you didn't have before so that's cool as well as the various finishing
11:23touches we're putting in on the environments like the outposts and the derelicts which are also looking
11:28awesome as you can see from the episode. So I'm actually looking forward to the point where all you
11:32guys can adventure out in that. It's going to be pretty cool.
11:34Another thing to get excited about for 3.0 is the introduction of our planet tech. Designing this
11:40system came with numerous challenges of its own including how to procedurally place objects like
11:45rocks and flora in a way that looks natural. Yeah so to learn how the team handled these obstacles and
11:52many more we put together an in-depth look at our procedural planet technology. So let's check it out.
12:08Hello I'm Marco Corbetta I'm Senior Technical Director and Foundry 42 Frankfurt. We're going to talk about planets today.
12:17So what we're going to look at here today is the planet tech and some of the features we're going
12:22to include
12:23into our first 3.0 release. The planet tech is exactly the same tech which we have been using for
12:30moons,
12:30planets, Delamar, the Delamar planetoid, Lesky and so on. This planet is unique it has its own gravity, ecosystems,
12:39objects, weather and atmosphere. If you look at the footage here the progress we made since we started
12:45working on this you can see the planet from space and you can smoothly fly from planet to space
12:51without any cutscenes or interactions. The major challenge here is that you can land anywhere
12:57seamlessly on the planet and basically the only way to do this is to generate the planet surface as you're
13:04approaching it. The terrain is getting generated recursively subdivided, objects are procedurally scattered
13:10on the surface as they are becoming visible as well as particles, granditas and so on. When you are on
13:17the
13:17surface you're able to see objects like space stations, moons and so on orbiting around the planet in space.
13:43For more information, visit our website and visit our website at www.xs.caps.com.
13:44For more information, visit www.xs.caps.com.
13:50www.xs.caps.com
13:51www.xs.caps.com
13:51www.xs.caps.com
14:27Il nostro corso gratuito è www.mesmerism.info
14:35Il nostro corso gratuito è www.mesmerism.info
15:06Il nostro corso gratuito è avuto la relazione che ci stiamo aff oportunidad
15:34L'unica soluzione è procedurale generare, on demanda, la superficie di planetà.
15:39La geometria generata è generata a livello,
15:41e le tessere sono procedurale combinato a livello,
15:45blendendo molti luoghi.
15:46Questo permette di transizione semplice,
15:48da spazio a planetà.
15:50Il data data usato per generazione è molto piccolo.
15:53Per esempio, in questi mondi,
15:55abbiamo solo usato 5 ecosistemi per ogni planetà.
15:59Cada ecosistema ha diversi proprietà,
16:02e sono tutti combinati con altri luoghi e combinazioni di luoghi,
16:06per generare una grande quantità di variazioni all'interno di planetà.
16:11Un'altra cosa interessante è che
16:12abbiamo utilizzato solo 1K risoluzione per le tessere,
16:16creato da gli altri ambienti.
16:18Queste tessere sono usati per la generazione planetà.
16:21Quindi abbiamo creato un'efficiente generazione e blending
16:25per combinare tutte le tessere tessere e le tessere,
16:28e ancora ottenere i risultati,
16:29quando si è vicino alla superficie.
16:31Il più grande risultato che abbiamo lavorato con l'interno
16:34è il scattamento di tutti questi obietti sul terreno.
16:37Da l'ultimo update che abbiamo fatto,
16:39abbiamo fatto molti progressi sul terreno e le tessere,
16:43e le tessere.
16:43Abbiamo potuto rendere tutti questi grandi montaggi,
16:45e le occhi, e tutto questo tipo di cose.
16:48Ma in fine, le planetà stavano ancora semplice.
16:51Non c'erano, non c'erano, non c'erano,
16:53non c'erano, non c'erano, non c'erano,
16:54non c'erano, non c'erano.
16:54C'erano, non c'erano, non c'erano.
16:57Non c'erano, non c'erano, non c'erano,
17:10ma non c'erano, non c'erano.
17:11Quando tradizionalmente si chiama un livello per un game,
17:14e si può fare in quanto il giro un giro,
17:16e si può fare in quanto si viene,
17:17e si mette questa vista,
17:19e questi background assets,
17:20e questo tipo di cose.
17:21Ma non possiamo fare questo a una procedurale,
17:24non possiamo fare tutte le assets in mano,
17:26quindi bisogna un modo che automata questo per noi.
17:30E, ovviamente, non vuoi che non vuole come naturalmente possibile.
17:34Quindi, voglio avere un po' di controllo,
17:36ma anche la maggioranza del lavoro che voglio essere occupato da un algoritmo.
17:42Abbiamo creato un sistema dove puoi definire qualsiasi che hai.
17:48Per esempio, voglio fare una foresta,
17:51bisogna fare dei bambini,
17:52bisogna fare dei bambini,
17:53bisogna fare dei bambini,
17:55e poi puoi definire alcuni obiettivi
17:58e dicendo che voglio avere un bambino,
18:00e poi puoi definire alcune logiche,
18:03dove hai leves,
18:04puoi definire la partecipal effetti,
18:06così che le leves falle,
18:08e poi puoi aggiungere l'audio,
18:10quindi puoi avere il bambino con il bambino con il bambino.
18:12Quindi, questi obiettivi, o obiettivi,
18:14sono le packagioni,
18:15che poi sono assaggiati a terra,
18:18in specifici areas dove vogliono questi bambini,
18:21e poi scattare in un modo automatico.
18:24Ma si seguite una logica,
18:26quindi potremmo definire naturalmente,
18:30quindi non è solo completamente randone,
18:31o in una gritta pattern,
18:33che potrebbe essere molto noticiabile
18:34per il bambino.
18:35Quindi potremmo definire
18:38come sono arrangati,
18:40quindi hai una grande roc,
18:42hai una piccola roc,
18:43e poi hai una piccola roc,
18:46quindi hai una piccola roc.
18:46Quindi hai una piccola roc,
18:50hai una piccola roc,
18:52una piccola roc,
18:52e una piccola roc,
18:52e poi scattereci
18:54over chilometri di terra.
18:56Abbiamo fatto questo in l'inizio,
18:57e poi abbiamo aggiunto
18:59più e più parametri
19:01per cambiare
19:02i visuali.
19:04E poi, ovviamente,
19:04hai un valore
19:05per tweakare
19:07random scalare,
19:08random rotazioni,
19:09alignment
19:09per terra,
19:10e tutto questo tipo di cose.
19:11come un art team
19:12produce tutto il contenuto
19:13che formi
19:14il nostro planeto,
19:15che contiene
19:16ecosistemi
19:17che defini
19:17le formazioni
19:20che defini
19:21le formazioni
19:21del materiale,
19:22che defini
19:23il formazione
19:23che fanno
19:24in personale.
19:25Abbiamo costruito
19:26le rocchi,
19:27l'acidità,
19:28l'acidità,
19:28l'acidità,
19:29l'acidità.
19:29Abbiamo costruito
19:30tutti questi componenti
19:31e è remizzato
19:33in il nostro
19:33Procedure
19:33e materiale
19:34e anche
19:35usare
19:35i materiali
19:36abbiamo
19:40in una
19:41smart
19:41modo.
19:41Per esempio,
19:45abbiamo
19:45usato
19:46anche
19:47i
19:47i
19:47i
19:47i
19:47i
19:47i
19:48i
20:05i
20:06i
20:06i
20:06i
20:06i
20:06i
20:06e permette di uscire a cambiare variazioni di coloro di sande,
20:13di quantità di rocci.
20:14Abbiamo un po' di grado di cover per il nostro planeto,
20:17quindi abbiamo toccato un po' di spazio,
20:19con molti planeti.
20:20Quindi abbiamo bisogno di assicurare che,
20:21in quanto riguarda,
20:22in un modo smart.
20:23Quando proviamo a definire un material pallet
20:26per uno dei nostri locali,
20:28lo che facciamo,
20:29è realizzare un set di materiale
20:32e applicare in un esotitio
20:34dove possiamo ottenere il tempo di giornata,
20:37avere una visione di quanto riguarda la settimana,
20:40o quanto riguarda la settimana,
20:41o quanto riguarda la settimana,
20:42o quanto riguarda la settimana.
20:42In questo modo,
20:43quando combiniamo tutti questi elementi,
20:45noi sappiamo che,
20:46all'inizio alla base,
20:47tutto si sembra bene.
20:48Quando trasferire questi materiali
20:50sui planeti,
20:51ci sono diversi elementi
20:52che influenzano
20:53come l'ultimo materiale
20:54sull'ultimo materiale.
20:55Procedure,
20:56questi materiali sanno mixi,
20:58altri elementi sanno in.
20:59Ci saranno colori
21:02con la definizione globale
21:03di quanto riguarda la settimana.
21:05Quindi,
21:05in quanto riguarda la settimana,
21:07il risultato della settimana
21:09non è sempre la stessa.
21:10Lo che abbiamo cercato
21:11quando abbiamo creato
21:13l'acetistica
21:13per la procedura del sistema
21:15è per esempio
21:16di non definire
21:17il materiale final
21:17del materiale.
21:19Lo che abbiamo cercato
21:19è assicurato
21:20che sia riuscata
21:21che sia riuscata
21:22che sia riuscata
21:22che sia riuscata
21:24che sia riuscata
21:25e riuscata
21:26con un materiale
21:27e uscata
21:29in una strada
21:30del mondo
21:30e uscata
21:33che abbiamo fatto
21:34più
21:35in una memoria
21:36perché
21:36ci si tratta
21:37il basso
21:38che
21:38un punto di riscata
21:39che abbiamo fatto
21:40con il modo di
21:42di questo
21:43che abbiamo
21:43sviluppato
21:44e
21:49non abbiamo
21:53alcuni
21:53dettagli
21:55in
21:55tradizional
21:56che abbiamo
21:57sempre
21:57abbiamo il foreground, il mid-ground, e anche il background assets che
22:02facciamo la scena, dove normalmente non vengono.
22:06Ad esempio, in un giunglio, e in l'interno c'è un grande volcano,
22:10ma non vengono davanti.
22:12Il sembra molto epic, ma è solo un background asset.
22:17In Star Citizen, non c'è un background.
22:20Tutti che vedete sull'interno, puoi andare a vedere.
22:22Questo poi va in quanto riguarda il nostro lavoro, come fare le assets.
22:26A volte, le cose che vedete in l'interno c'è, è solo un peccato.
22:32È sempre la stessa, e se vengono vicino,
22:34si vengono vicino, si vengono una walla in fronte.
22:36Che non succede, perché la spazia è restriccita.
22:40Ma in Star Citizen, non c'è una restriccita per la spazia.
22:43Per i piccoli, questo è bene, perché si vengono solo quando si vengono vicino.
22:48Ma se vengono vicino vicino, vuoi vengono vicino vicino.
22:52Ovviamente, vengono vicino vicino, e vuoi vengono vicino.
22:55E vuoi, che vuoi vengono vicino vicino,
22:58se vuoi vengono vicino vicino.
23:01Alla azit ha di fatto, che funziona in una persona,
23:05che funziona in un po' di distanza, che funziona in un poco,
23:08che funziona in un po' di scuole, e che funziona anche da l'interno.
23:10Another major challenge is dealing with online games and procedural generation because the generation needs to be deterministic on all
23:19machines.
23:20So we need to do a bunch of operations on CPU side to make sure it all works on the
23:25dedicated server as well.
23:26Usually dedicated servers don't have a graphics card.
23:30So currently all-terrain generation is done on CPU and most of the visual textures blending is done on GPU
23:37on the client.
23:38Generational results are cached in the fixed geometry pool mentioned before.
23:44And the generation is distributed over all available machine cores.
23:49So the generation is very efficient and is scaling with the number of available cores.
23:55The generational results are exactly the same on client and server.
23:59So there is no need to transmit any information to replicate the environment.
24:03Here we're watching a video recorded by our QA of four players playing together and landing on a planet.
24:10You can see the seamless transition of all of them landing on the same planet's surface.
24:15What makes working with our planet tech so different is the scale.
24:20When you would work on an FPS level, for example, even if it's a very large map, you would cover
24:26like four kilometers.
24:27You don't have to worry about what happens outside of the playable boundaries.
24:31What we try to do in Star Citizen is basically cover all those elements.
24:34So you come in from a very far distance, fly close to the surface, you step out of your ship
24:40and you walk around and look at like the rocks and the ground and the details.
24:44You have to make sure you cover all these different ranges, which takes some getting used to.
24:50It's an interesting system to work with for sure.
24:52And on the one hand, you lose the opportunity to handcraft every single meter around you.
24:59At the same time, you're generating large scale environments.
25:05And the procedural system allows us to set up these rules where the way the stuff that's placed, you get
25:11these situations where like, wow, I couldn't have made this if I tried to.
25:16You never really know what's going to happen, how the objects are arranged.
25:20So every now and then you come to a corner of the moon, which you have never seen before.
25:24I mean, on one hand, you don't have the hand placed in control, but you also don't really want this
25:28because it spent years on just one planet.
25:31But yeah, the nice thing is that every now and then you come to a certain corner of the planet
25:35or the moon and you're just surprised by how the objects are arranged.
25:41And it just works out beautifully.
25:43Also with the sunlight, you never know how the sunlight is because the planets, you never know what time it
25:49is or you can't just say, okay, I want this in the sunset.
25:52So every now and then you have these moments where everything comes together and it just works out beautifully.
25:56And you have this nice scenic, huge environment right in front of you.
26:00We define the rules.
26:01We define our shapes that we would like to see, but it isn't until everything comes together and you actually
26:08fly around and just land and just look around.
26:13Wow, all these elements that our team builds right now, it's all put together and this is the world that
26:19we made.
26:19To end this presentation, we're going to show you a procedural planet visual effects breakdown, showing how the different elements
26:28are combined to compose the final image.
26:31Thanks for watching.
26:44We'll be right back.
26:47Bye-bye.
26:48Bye-bye.
26:58Bye-bye.
27:00Grazie a tutti.
27:42Grazie a tutti.
28:13Grazie a tutti.
28:34Grazie a tutti.
28:38Grazie a tutti.
28:44Grazie a tutti.
28:46Grazie a tutti.
29:17Around the Bass.
29:48Grazie.
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