Written by JP.Lee
Authored at 2021.8.15
This document has a purpose which I want you to understand more clearly my information for you that the whole content contains.
A: From 2015 to 2018, I mainly worked closely with the engine team.
It is mainly related to PBR rendering.
I was in charge of developing and integrating physically based shading and lighting with the engine team in the Exclusive engine.
Also, I was lecturing to group training, documentation, and in-house technical seminars so that the art team could immediately use the Substance Designer and the Substance Painter use them correctly in practice. From 2017 onwards, at the request of the studio CEO, I began to be deeply involved in the field of mobile rendering systems. During this time, I was involved in the development of programs for the overall lighting system, water expression, and tree vegetation expression, and took the lead in improving the overall rendering system with a graphics programmer.
From 2018 to early 2020, I was charged with an open-world game development project and participated in the overall terrain processing plan, terrain creation and optimization, and perspective view-based Infinity ocean system development. A method that can be used in a mobile game environment was researched. That has mostly arrived achievements. As an example, I have completed work depending on my plan to maximize the visualization quality of distant terrain seen 8 km away. In this technique, I have used World Machine, World Creator, Vray rendering, etc. to completely improve the rendering quality of the distant terrain without relying heavily on the Shader.
Also, at this time, I educated the low-frequency lightmap production method, the lightmap index combination method, I was guided to all environment artists about How to creation to the modular production method for optimizing the use of the real-time lighting system. I have designed a way to process light-probe information by streaming.
The overall expression of the character's clothing, hair, and skin has been improved.
Created Unique Shadow URP version to improve character's Self-Shadow quality and improved Soft Shadow quality. During the optimization process of the project I participated in, I completed the structure for the development of the Shadow Proxy system, and by completing this function, the draw-call that increased when processing shadows was dramatically reduced, and the size of the vertex buffer was also greatly reduced.
Researching ways to express the Volume Cloud (Cloud Scape) that appears downward when a character flies in the sky in a mobile game and achieves the result.