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Setting up occlusion culling

From: Unity 4.3 Essential Training

Video: Setting up occlusion culling

more and more objects are overlaid, we get a Optimization for smooth play is something that should I'll change the children, because that way, I'll click Bake with nothing selected and it My occlusion is baked and I'm seeing that overdraw culled way down.

Setting up occlusion culling

more and more objects are overlaid, we get a Optimization for smooth play is something that should be in the forefront of the game designer's mind. brighter color, showing we are overdrawing more and more things. Now here's where this really starts to kick in. Now, we should be making beautiful art and putting it around a When we turn back on the water, and turn on the place that's new and exciting to play in, crafting an immersive environment. terrain, we'll see a tremendous amount of over drawing going on. But, at the same time, it has to work well. A beautiful game that's buggy and plays slow doesn't do anybody any good. Finally, with the effects back on, we'll even see how bright those get. Conversely, there are some games that are looking decent What this means then, is if we can limit down what but play wonderfully, and are immersive time and time again. the camera sees, we can get a smoother and faster game play. We can do a lot on the back end to optimize how our game plays. And so we'll use our occlusion color. And actually we've been doing some of it already. I'll choose Window and Occlusion Culling from the top menu. Making pre-fabs and cloning them around. The idea in Occlusion Culling is, we're going to mark things as static, anything that doesn't move. And then, bake out zones of Occlusion. I'll start out by marking things as static. I'll pick all of my solid walls. Picking one, holding Shift, picking the last This is a terrific one, because it one and, over in the inspector, checking static. helps optimize how many objects we're actually using. We can also do a lot of optimization with things like limiting down lights to only hit certain layers. And culling down other objects so that we're being very picky about exactly what interactions are taking place. This way these objects we marked as not moving and can When you're ready to optimize on a more global level what the camera sees. You can use a clusion culling and what this does is to limit down how much we see if it's blocked by another object. I'll go into my scene and turn on the overdraw so we can get a good idea of what's going on. I'm here in building b and I'm going to look out the windows towards the other buildings. I'll drop down where it says RGB and choose Overdraw. What we can see here is that objects are drawn at a transparent red, and as more and be called down, I'll scroll up and look at the other pieces. The waiting ammo's move so they may not call well, but some of the other things will. The master building really only has some movement on the doors. French doors four, six, 11, 13 and 20. So I'm going to pick this master building, and mark it as static, and then come back and choose those objects. I'll change the children so they're all marked static, then I'll open them up and go look at those French doors. Here in the gallery, I'll scroll down, and there's my French doors. French doors four, six, 11, 13 and 20. And these five I will uncheck as being not static. I'm ready to try a bake. There might be some other objects I can catch, but I'll see how this behaves first. Actually, before I do, I'll look at the art. I know that the paintings don't move, so I can pick all of the art p for paintings. And check them as static as well. I'll change the children, because that way, it'll catch the painting in the frame. And I'll go back to the occlusion window. What this says is, it's going to bake the things that are static, occluder and occludee. Meaning, it'll look at, is it static on it's own, and is it static being blocked? I'll click Bake with nothing selected and it will take a minute and bake out that exclusion. My occlusion is baked and I'm seeing that overdraw culled way down. Now I do have a message at the bottom. Some renderers use a transparent shader but are marked as acluderstatic. What this means is I need to go through that scene and look at all the glass objects and uncheck them as static. This way I can see through the glass properly. But I'll take a look at it, and see how it plays. It definitely looks more optimized. There's not nearly as much of that giant white in the background where so many objects are clumping together. I'll switch back to RGB mode. And I'm here in my scene. I'll press Play and see how it looks.

Here in my scene, I'm getting some varied results. The waiting ammo's move so they may not What I'm seeing, is that in some places, things are winking in and out. And what this means, is that my inclusion distance isn't quite set right. call well, but some of the other things will. It's definitely helping. The master building really only has some movement on the doors. I'm watching my draw calls go way down. French doors four, six, 11, 13 and 20. But I'm definitely seeing some flickering in So I'm going to pick this master building, and mark the background, and things coming and going. it as static, and then come back and choose those objects. Inside, I can still knock over the art, and that's working nicely. I'll change the children so they're all marked static, then And the inside of the building looks good. I'll open them up and go look at those French doors.

But I do need to fine tune that occlusion. Here in the gallery, I'll scroll down, and there's my French doors. This may take some time. French doors four, six, 11, 13 and 20. And it may take some time to go through and tag And these five I will uncheck as being not static. things, think through the Bake, and think about how it's working. I'm ready to try a bake. What we can look at in that eclusion then, is in the Bake section. How big are we dealing with? There might be some other objects I can How big is the back-face threshold? catch, but I'll see how this behaves first. What's going on in terms of, how far are we seeing? Actually, before I do, I'll look at the art. And how are our objects that are transparent reacting? What I should do is to go through this building. I know that the paintings don't move, so I can pick all of the art p for paintings. Opening up that gallery and selecting those glass objects. And check them as static as well. For example, here's one of those outside metal screens. I'll change the children, because that way, This one probably shouldn't be a static because it'll catch the painting in the frame. we should be able to see through slightly. And I'll go back to the occlusion window. I can pick all of the screen objects at once and uncheck them. What this says is, it's going to bake It will take some judicious checking, but I can make sure that the inclusion is the things that are static, occluder and occludee. working correctly and not clicking out more of the surrounding and environment than it should. When you got it ready you can go back into Meaning, it'll look at, is it static on it's own, and is it static being blocked? the occlusion, clear off the initial bake and bake it again. This is a terrific way to save draw calls I'll click Bake with nothing selected and it because it says don't draw if we can't see it. So make sure you work with the occlusion culling and really will take a minute and bake out that exclusion. cull down how many things are actually showing up in your view. My occlusion is baked and I'm seeing that overdraw culled way down. Now I do have a message at the bottom. Some renderers use a transparent shader but are marked as acluderstatic. What this means is I need to go through that scene and look at all the glass objects and uncheck them as static. This way I can see through the glass properly. But I'll take a look at it, and see how it plays. It definitely looks more optimized. There's not nearly as much of that giant white in the background where so many objects are clumping together. I'll switch back to RGB mode. And I'm here in my scene. I'll press Play and see how it looks. Here in my scene, I'm getting some varied results. What I'm seeing, is that in some places, things are winking in and out. And what this means, is that my inclusion distance isn't quite set right. It's definitely helping. I'm watching my draw calls go way down. But I'm definitely seeing some flickering in the background, and things coming and going. Inside, I can still knock over the art, and that's working nicely. And the inside of the building looks good.

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This video is part of

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Unity 4.3 Essential Training

78 video lessons · 10552 viewers

Adam Crespi
Author

 
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  1. 2m 57s
    1. Welcome
      41s
    2. What you should know before watching this course
      52s
    3. Using the exercise files
      1m 24s
  2. 21m 21s
    1. Designing the game
      4m 39s
    2. Setting the project
      4m 9s
    3. Exploring the Hierarchy, Scene, and Inspector windows
      5m 45s
    4. Creating and transforming objects
      6m 48s
  3. 21m 34s
    1. Organizing the Assets window
      2m 55s
    2. Exporting objects from 3D modeling programs
      8m 33s
    3. Importing and configuring models and textures
      4m 54s
    4. Setting properties for models and textures in the Inspector
      5m 12s
  4. 29m 8s
    1. Introducing the game environment
      4m 27s
    2. Placing the player controller
      4m 29s
    3. Publishing project settings
      5m 32s
    4. Adding sky and fog
      8m 17s
    5. Fine-tuning the First Person Controller
      6m 23s
  5. 57m 25s
    1. Creating the terrain geometry
      3m 29s
    2. Forming the topography
      9m 54s
    3. Painting the terrain textures
      7m 9s
    4. Painting trees and forests
      10m 55s
    5. Painting grass, shrubs, and 3D geometry
      9m 38s
    6. Painting detail meshes
      8m 46s
    7. Adjusting terrain settings
      7m 34s
  6. 39m 45s
    1. Creating materials and assigning shaders
      8m 56s
    2. Handling multiple materials
      7m 13s
    3. Adding textures to a material
      3m 57s
    4. Manipulating textures
      5m 20s
    5. Adding reflections to materials
      8m 1s
    6. Creating lit materials
      6m 18s
  7. 47m 12s
    1. Creating GameObjects
      5m 2s
    2. Understanding components
      6m 15s
    3. Using colliders for barriers
      6m 22s
    4. Using colliders for triggers
      8m 1s
    5. Exploring physics
      8m 22s
    6. Working with Physic materials
      5m 3s
    7. Adding joints to rigid bodies
      8m 7s
  8. 20m 33s
    1. Setting up prefabs for animation and batching
      5m 8s
    2. Animating an object
      6m 32s
    3. Adjusting timing in an animation
      3m 50s
    4. Animating transparency and lights
      5m 3s
  9. 11m 58s
    1. Importing skinned meshes
      4m 51s
    2. Separating animations into clips and states
      3m 14s
    3. Creating transitions between states
      3m 53s
  10. 30m 22s
    1. Customizing ambient light
      2m 59s
    2. Creating the sun using a directional light
      5m 49s
    3. Using layers and tags for lighting
      3m 32s
    4. Adding spot and point lights
      4m 25s
    5. Using point lights for fill
      4m 30s
    6. Adding and fine-tuning shadows
      5m 10s
    7. Creating lighting effects with cookies
      3m 57s
  11. 9m 15s
    1. Adding scripts to GameObjects
      2m 42s
    2. Using correct script syntax
      6m 33s
  12. 23m 7s
    1. Setting up a 2D project
      3m 13s
    2. Importing sprites
      2m 30s
    3. Slicing in the Sprite Editor
      3m 6s
    4. Layering sprites and setting the sorting order
      5m 12s
    5. Creating 2D colliders
      3m 12s
    6. Adding 2D physics
      2m 25s
    7. Animating 2D elements
      3m 29s
  13. 30m 25s
    1. Creating light shafts and sunbeams
      5m 20s
    2. Using ambient occlusion to add gravity
      4m 37s
    3. Adding depth of field
      8m 40s
    4. Applying motion blur
      5m 46s
    5. Tuning color for mood
      6m 2s
  14. 38m 16s
    1. Exploring water effects
      7m 36s
    2. Working with wind zones
      2m 8s
    3. Using an audio source
      4m 3s
    4. Creating a sound zone
      5m 59s
    5. Triggering audio
      3m 37s
    6. Adding audio effects
      3m 13s
    7. Creating particle systems
      2m 26s
    8. Adjusting particle systems
      9m 14s
  15. 25m 23s
    1. Setting up occlusion culling
      5m 52s
    2. Enabling batching to reduce draw calls
      3m 28s
    3. Testing in the game window using statistics
      4m 27s
    4. Building a development build and debugging
      6m 0s
    5. Building the executable
      5m 36s
  16. 49s
    1. Next steps
      49s

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