![]() We would have been in the Uncanny Valley, and that was the motivation. ![]() It's like UE5 without a Global Illumination solution to go hand in hand with Nanite would be a fail visually. ![]() ![]() That's where it came full circle and became a call-to-action for Daniel and our team, who'd sustained a passion to see global illumination in Unreal Engine become a reality. But with all the resolution, the lighting has to be better. We've got to work out how to do this and with Brian, who’d gotten Nanite working, it made us realize that finally, we have geometry that starts to rival what we can do in feature films. We all love video games and a bunch of us had experience working on movies in the past. Our team has always had this hunger to get movie quality graphics into video games. Until one day when Brian Karis, who led the development of Nanite, started to do the prototype. We got to the point where we created a Distance Field sort of bounce off the ground, but we parked there. We couldn't quite work out how to do it on hardware at that point. Daniel Wright and of our immensely talented Graphics Programmers had been trying to figure out how to do real-time globalization for the longest time, and we couldn't do it. Kim Libreri: Did you ever hear the story about how Lumen really came about? I've been at Epic for nine years now, and during the early days of Unreal Engine 4, you had this foggy Global Illumination. Every time developers download a new Unreal Engine build and play around with it, it leaves them speechless.
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