VRChat is a well known social platform for all those who have VR equipment, and even if you don't have any specific hardware, you can join the party from your standard PC screen too! When you create a scenario, you have to be cautious with texture sizing and data management to make sure you can run your scene, but also the target audience can too! If you fail to democratize hardware requirements then you fail to create a popular VRChat World.

Every frame, a camera perform culling operations that examine the Renderers in the Scene and exclude (cull) those that do not need to be drawn. By default, Cameras perform frustum culling, which excludes all Renderers that do not fall within the Camera’s view frustum. However, frustum culling does not check whether a Renderer is occluded by other GameObjects, and so Unity can still waste CPU and GPU time on rendering operations for Renderers that are not visible in the final frame. Occlusion culling stops Unity from performing these wasted operations.

https://docs.unity3d.com/Manual/OcclusionCulling.html
​
This is basically the core knowledge of the whole system. This technique is used to avoid doing the real time calculations of gameObjects that are not in the Camera frustrum. This improves framerate and events performance during runtime.

To begin creating an "occlusion area" you need to check the box "static" or just click on the drop down and toggle "OccluderStatic" and "OccludeeStatic". Another approach is to select the desired gameobjects and toggle option in the Occlusion Window on the Object Panel.

This tells the engine to consider the gameObject when calculating the Occlusion Data within its Occlusion Area (Unity considers the whole scene as a single area if you don't configure one prior bake).

The main difference between these two Occlusion concepts is pretty simple but its important to keep it in mind when building your scene occlusion areas and data.
​

• An Occluder is an object that can hide another objects
• An Occludee is an object that can be hidden from view by another object (Occluder). If you uncheck this, the object will be considered differently like if it was on another layer, not being hidden by other meshrenderers.

​
An example of Occludee toggle would be for larger objects like grounds that should be considered separately to ensure its always rendered.

Culling Areas are "cube" shaped volumes that "group" all the gameObjects inside of it, being only rendered if the camera is placed inside the same area. This works well if you have multiple enclosed areas, for our case, Occlusion areas didnt make sense as the whole scene is enclosed without visual walls among it.
​
Occlusion Portals are for connecting two Occlusion Areas and so the Camera can render both areas by the Portal region area. The toggle Open option is for allowing or disallowing this conneciton.

The Occlusion system uses a built-in version of Umbra. As any other system, it has its failures and improvements compared to other occlusion system engines. For other projects I personally have worked with Sector, an Asset Package found in the Asset Store that is very helpful and by the time I worked with it it was way better than the Unity's Umbra (more flexible settings as its main selling point).
​
Another thing to keep in mind is the use of shaders with an excess of passes. Each pass is a whole mesh calculation for the material to be rendered and so Materials with more than two passes can be problematic for lower platforms like mobile. I state two as a minimum because transparent materials require two passes, furthermore they require the renderer to render whats behind the mesh rendered with transparency so they are quite the hard limit for low platforms.

The whole scene is marked as "Static" as there are no dynamic objects to keep in mind (the water is animated through material [not shader]). This made the Occlusion set up "easy" and not very hard to set the first steps. Keep in mind the size of the Occluder box you want to set, the bigger, the less "accurate" it will be, but at the same time the data will be much smaller. Each project needs its own balance.


In this case for Gauguin we set the size to 1.5, meaning that the smallest "box" packing objects was of 1.5 units (meters) in x/y/z value.


The Smallest Hole float is the setting to tell the camera how big it has to be the "hole" in the mesh to start casting what is behind it. This is specially tricky on elements with small holes or meshes with complicated shapes.
​

The backface value is the value of directionality of a mesh to be rendered. The higher, the more "aggresive" the occluder will be, making the camera not compute meshes that are not facing towards the camera.

The best workaround is to always do it manually and never let the program do the math for you.
​
For the scene, the ground meshes were kept without the Occludee option as smaller avatars made it through the ground floor due to camera frustrum and its near clip (this cannot be changed as it how it goes in VRChat).

You may find Occlusion Culling easy to set up or even unnecessary!
​But the truth is that is a vital piece during the final stages of environment development as is the manager, loader and unloader, of all the visual aspects of the camera, ensuring an smooth experience while mantaining the quality levels desired and keeping hidden from view but not unloaded from scene to ensure fast-charging-fast-hidding.


Also each time you modify a gameObject property like transform or add/remove gameObjects from scene you should rebuild your Occlusion data as those gameObjects are still "baked" in the data.
​

Keep it in mind specially when working with large environments or low-specs platforms.

You are more than welcome to drop any question or your try-out and results!

Join us: https://discord.gg/UDf9cPy

Isn't it great when you talk with somebody online and you see his mouth moving while he talks?
It really add ups to the experience, specially in Virtual Reality.

That's what this is about.
Creating different shapes so you can see yourself talking when you look at a mirror.
​
It's the little touches that makes something good to something better.

Let's say you already have your model done, it's also rigged and skinned so its ready to go.
​But, you want to make some blend shapes because in-game they look neat and funny.
​
Well, let's make them!
​
First, we need to know how many blend shapes we need to make. VRChat uses 16 different blend shapes. These are:

To make things easier in the future, I highly recommend always using the same prefix for each name, so later in Unity it's almost automatic. The prefix being vrc_v_blendshapename.

This gives you a general idea of how I made the different shapes of the mouth depending on the viseme. Another thing to keep in mind is that even if vrc_v_sil doesn't change the shape whatsoever, you must change something regardless.
​
Now that we have every shape done, we will use the Shape Editor.
Open the Shape Editor in the sculpting tab in Maya. Or going to Deform>Blend Shape.

Now, select one shape that you created and then select the original model. Go to the Shape Editor and click on "Create Blend Shape". Repeat this with all the 16 shapes.

We have every shape ready, so now we will export all the package.
Select all the shapes, meshes and bones and go to export.
Be mindful of checking in the box of Animation and make sure that Blend Shapes is activated too, if it's not, it won't export correctly.

Now write the name you want and export it.

You should have your Unity 2018.4.20f1 or whichever version VRChat uses already set up. If you don't, check this guide out made by my friend Alejandro Peño where he explains how to set it up:

With the character imported, we will add a new component called VRC_Avatar Descriptor.

Now it will appear a couple of parameters you can edit.

We are only going to modify 3 of them. View position, LipSync and Eye Look.

This parameter allows you to decide where the first person point of view is located. In other words, from where are you going to see inside VRChat.
It is a no-brainer that we should put the little indicator at eye level. As close as posible to the eyes.

How can we make our character talk? With this option right here!
In mode, select Viseme Blend Shape.

Now it will appear a Face Mesh tab. Using the little circle on the right, you can select the mesh where the Blend Shape Visemes are stored. In this case, since it's all the same mesh, we only have one option.

Now we are talking (pun intended). Like I said before, putting the right names, makes our lives easier. Every single blend shape is in place. But just to be sure, give it a look.

If you have sharp eyes, you might have realized that blink was nowhere to be seen (These puns just keep coming). That's because we will use the Eye Look tab to configure it.
​
Click on Enable and a couple of options will appear.
Ignore the others and go to the Eyelids section and select the blendshapes option.

Select once again the mesh where the BlendShapes are stored, and it will appear something like this.

If something is not properly added, you can change it from here. Since we don't have only the Blink Blendshape states, we will leave Blink like it is and change the other 2 so they don't have any state at all. Like this:

Use the preview button to make sure that everything works correctly. You can even check all the other blendshapes if you want!
Once it's finished, you can upload the character like you usually do. Again, if you don't know how to do it, you can check this guide:

Blend shapes visemes are a great way to give life to your avatars in VRChat.
​I would 100% recommend using them in your future avatars.
Depending on the model it takes around 30 minutes to an hour
​to create all the shapes needed, and they look great.
​
It's a lot of fun making these, so give them a try!

In order to begin the process, we need to define what we want to do. From a medieval wagon to a SciFi antenna, the desired item we want will define all the work we must do. Its not the same to build an item from an apocalyptic world or an object from the far future. All the workflow, from texturing to modelling will change depending on what are we looking for.​
​
In this case, our choice is gonna be a Cliff Scaffold. For this purpose, we are gonna use a concept. This is not our goal, its just a support image to define the pieces that we need.

At first sight we can break down groups of pieces and we can add some more:
​

• Wooden Planks/Platform
• Basement (Rocks)
• Metalworks

​After the break down, we need to think how this will be build. We are gonna make a few pieces from each group to achieve some variations. But first, we need to talk about this damn materials.

Its time to talk about materials. With all the above in mind, we need to define how our textures will work and look alike. How many textures do we need? A texture for every channel in every material? NO. Instead we will "combine" all the materials in one by doing a clever use of the UV space. 

We are gonna choose a trimmed texture instead of some unique textures. If you haven't worked previously with any texture of this kind, you can take a look on how to create a Trim Texture by reading the Trim Textures: Making Of article.
​
With a quick previsualization on "what" do we want and "how" to do it, you should be able to anticipate all your visual needs and material count.

The core idea is to use this Trim Texture to texture almost everything by UV tiling one of the two axis (U or V). You can see that our texture consist in three types of wooden planks, for all the wooden pieces that we got made after the reference inspiration; a metal section for details and to add some more style to our props (for example for ends and decorations); and a rock section for the basement and maybe some big pieces. All of these three types of "material" are going to be tiled in the U axis of the UVs. With only this three layers we can texture all of our asset. In order to achieve this goals, we are gonna keep in mind this texture in the modelling phase. 

​Also you should keep in mind the Texture usage and Model visibility. When texels come into scene, you will need that the textures match the mesh need of texture, having a healthy texel space ratio is a good way to make your models look nice wherever they are placed in scene. Here you can see that we have dedicated almost 2/3 of the texture for wood. Meanwhile rocks and ironworks remain in smaller space.

​​Last but not least, this small guide is focused on a material that only uses the color/albedo channel, we have baked the AO, bumps and made some light details but it can work well also with a full PBR material (Albedo, Normal, Metal/Rough, AO, Height, Emission). You will just have to do the texture work for every channel matching their space and watching out to not overlap the information between channels. Also a good workaround for bigger environments would be packing the trim textures by material, specially the ones that use specific information extensively like the emission or metal channel.

With our texture already done, we have to create all the pieces of our asset with our modelling toolkit. The core idea of modular environment design is to create the less models possible and give a unique look to each one. 

The objective is to get a group of diferent pieces like pillars, planks or decoration. Three variations from each type of item should be enough for avoiding repetition. Don't create 3 exact same pillars, instead do shape variations or even small compositions to match your reference moodboard. After modeling our assets, our scene should look like this.

We have build different pieces. Some short and long pillars. Some planks. Some decoration. In conclussion all the things that we need for build different structures. We should work in the UVs for texturing. If you dont know how Trim Textures Work, you should read the Article of Trim Textures: A New Hope

With all the modelling done, its time to import everything to our Game Engine. Here we use the Unity Engine but the process is similar in Unreal, Blender, CryEngine etc. 

The final step of our work has come. By importing our assets to Unity, we begin to build our props.
In Unity you can get your hands on prefabs for your environment compositions or just keep them tied together in scene by parenting, the choice is yours!

Prefab design will keep your assets interoperable between scenes without the need to rebuild them from scratch but they will be likely harder to modify once they are built. Prefabs store the transform and all component data for each gameObject in the prefab parent. But this make it more sensible to mesh editing after building.

On the other hand keeping your assets parented but not prefab-ed will make them more tedious to modify (specially if you have different scenes) but easier to mesh modify them.
​
By prefab-ing we can build dozens of props that in the end are calling the same meshes and doing the same material batching. This will heavily optimize the runtime stability and scene load. Just parent some of them to the transform point you want and drag them from the Hierarchy to your Project / Prefabs folder!

With our pieces already in unity, we must invest time in build some PropsBy investing more time we can create some more assets to fill our scene but in this case we only want to show the idea of building a modular asset.
​
By spending some time on composition we can achieve our goal to set a scene from our modular asset. In this example we have build a hut, a platform with a ladder and some boxes that use the same material and meshes. All wooden, all optimized.

In conclusion, with this workflow you can build a wide range of props
that ​in fact are using a few models.

​ In this case we have created a simple asset with some wood, metal and rock but applying this workflow to other styles or goals, we can get quick and complex models to use it in our projects. The mastery resides in creating a balance between generic and modular props to create the general look and composition and create a layer over it of specific content, for example to add a Boat, a fishing net or by just creating something that doesn't match the trim-material features but fit in our environments.

​Dominating this workflow will allow you to create
​quick scenarios without much effort and a good optimization.

With the continuous rising popularity of VRChat and its standardisation as a virtual meeting point, Polygonal Mind contributed to its growth by creating 100 avatars available in the platform. This took the team to think about a "room" in the virtual world of VRChat where you could hang out with friends and change your avatar to one of our creations.

Creating a visually impressive scenario need the use of a high dose of creativity. And so Laura Uson lead the visual development of the scene, taking the impressionist painter Gauguin as the main inspiration for our environment. The vivid colors of the paintings and the simplicity of the shape direction and vague definition is one of the main highlights of our environment.

In this project I took the lead in general composition and technical development, this meant to be in charge of all the optimisation and general look alike by compositing and creating a good looking environment by level design, lighting and colour harmony. And one of those tasks to perform was to have a water flowing among all the static-ish environment.
​
To do so we heavily relied on Seamless textures getting animated to simulate water flowing.

It is true that seamless textures are a great way to achieve massive texture distribution without feeling that there is some kind of repetition grid and everything looks overall uniform. This type of textures also work great to make flowing rivers or fluid movement. Said so make shape direction your main ally for flow movements, think about a "starting quad" and an "ending quad" where water will flow along the loop.

The 3D quad adaptation to an square texture also gives you the ability to shape the “stress” of the water flow by enlarging or stretching its area in the UV space. If you stretch the quad in the UV space you will get a quicker and stressed water flow. On the other hand if you enlarge its length, you will get a calm and slower flow of the water path.
​
This technique can be applied to a wide range of standard water flows like broken pipes or waterfalls.

In order to achieve this, we created a seamless square texture along the Y/V axis so the river would follow this pattern vertically, and so the animation goes from a Texture tile offset from 0 to 1 during X time. This way your "simple trick" animation will be always flowing seamlessly.
​
Although in the previous texture tile preview you can notice the "square" repetition due to small details in the texture, this cannot be appreaciated in the river mesh, as its quads only match the X/U vertical straight boundaries, while the horizontal edges mantain an unfolded freedom. This makes the texture to not necessarily match the whole square as its texel density is uniform along all the mesh. Of course this was our desired approach, you can always match the full square for different visual appealing results.

The river came firstly, as its a simple UV animation logically made and thought, but we faced that the ocean couldn't be animated the same way as its flow doesn't behave the same way. The main issue was to "imitate" and do a visual ressemble of the ocean waves in a calmed way, without creating wave meshes. The attained look was inspired by the following Gauguin painting:

From the picture from above we can already see how the ocean shape and look a like was made, each "wave" was made by creating a river that went along the shore to the limits of the map, creating a water flow that ressembled to the sea.
​
At this point you can already guess that you cannot animate it the same way as it is animated the river, in this case the animated axis is the X/U axis, moving the foam closer to the shore.

This could be achieved by doing a seamless connection between all the faces, this time each quad occupies the whole UV region, creating a seamless mesh deformed by its own mesh. The stress points now are made when there are more (and smaller) polygons instead of smaller UVs.
​
And that's all about the project breakdown regarding this particular environment effect and animation. The next two points are going to be focused on creating this effect step by step.

Once you have the initial River mesh you will probably have a UV mess. Because how Maya behaves, UVs get deformed as the Maya engine performs the commanded operations. My recommendation is to delete all the UVs and select the path loop the river will follow, you should get something like this by using a contour stretch:

As you can see, with the Maya History deleted and the shape Frozen, an one-opened loop will be displayed like this when performing a Contour Stretch. You can say that it still doesn't look right (because the whole mesh has been stretched to the coordinates 0,1 in the UV axis) but it has the water flow direction already. From this point the best forward step to do is to scale in the V axis the whole UV shell until finiding the desired texture stretching.

With the UV length expanded along the V axis you now have a proper seamless water flow in a river, good job! Now let's take a look to the next point.

One of the many benefits of Unity is its simplicity when it comes to animation. Unity is an engine capable of animating through its animation engine almost any public property or value displayed in the inspector of a gameObject in scene. All you need is to create an Animation Controller in one of your Assets folder, create a default State and create an Animation clip assigned to it.

Once you have done this, you can start to create and edit your water animation in the Animation Window (CTRL+6).

With all these Unity basics you will have a beautiful (and maybe simple but effective) water flow. From this point everything is ad-on and there are infinite ways to keep experimenting and improving this workflow, it will always depend on the artistic and visual approach you are trying to get.

With all the things said, I will pack my tools and do my last paragraph as a farewell. This was my very first time doing a river flowing, sea waves approaching and a waterflow being alive, but I have been already experimenting with texture offsets for a wide range of other applications. Because it's more important to know the useful basics and tech tricks instead of very particular cases of technology and graphics applications. Experimentation is key in this world!

That's all you need to start experimenting with simple water flows, there is no real need to use Particle Systems or complex Shaders, with the correct texture and clever usage of UVs you can achieve amazing results that at the same time will do a less impact in performance.
​
You are more than welcome to drop any question or your try-out and results!

For a character to be able to be Cross-Platform it requires to be optimized for mobile devices:
​

• Maximum size of 5-8 MB.
• Have less than 5.000 triangles.
• Only 1 Skinned Mesh.
• 1 Material for each Avatar, 2 only when neccesary.
• Textures should be 1024x1024 at maximum.

​
For more information about what you can and can't do with your avatar visit this website:

You will need these things to upload your own Avatars to VRChat:
​

• A VRChat Account (The Steam account doesn't allow to upload custom characters).
• Unity latest estable version
• VRChat SDK

In the following link they explain the requirements and how to set up the SDK:

In my personal experience It worked when I didn't installed Unity Mitigation Tool, so I don't recommend installing it. Maybe it's just a coincidence. To import the SDK you have to go to Assets > Import Package and select the SDK in the folder.

If its the first time you log in with an account in the SDK you will have to wait until you are able to upload anything to VRChat.

Once you have the Unity Project with the SDK and your rigged character its time to put it on a scene.
​To import the fbx model go to Assets > Import New Asset.
​
You will have to do the same to import the texture (Another way to import them is draging them into the Project Tab).

Once you have imported both, drag the model into a new Scene. To create a new Scene you can go to File > New Scene; Right Click on the Project Tab > Create > Scene; or simply type Ctrl + N.

To be able to see how big is your character with respect to the world, go to GameObject > 3D Object > Cube. A cube of 1x1x1 will appear in the Scene so you can compare it with your character.

​If you need to change the Scale of the character DON'T DO IT ON THE TRANSFORM COMPONENT OF THE CHARACTER IN THE SCENE, this could create unwanted errors in the future.

​To modify this parameter the best option is to click the character in the Project Tab and in the Inspector Tab > Model change the Scale Factor value until you have the size desired. You will need to Apply to see the change in the Scene.

To create a new material in the Project Tab, Right Click > Create > Material. Left Click in the New Material and in the Inspector Tab should appear the configuration of the material.

Another option is to click your character in the Project Tab > Material and there click in the circle in the list of materials and choose the material you have created previously.

Now you click the parent object of your character and look at the Inspector. Click in Add Component, search VR and add the VRC_Avatar_Descriptor.
​
In this component change the parameters of View Position to align it in front of the character. This is where the First Person Camera will be when playing with this character. In theory this would be enough to upload the character, but for caution lets check that there isn't any big problems.

Go to VRChat SDK > Show Build Panel Control, popping up a small window. You have to look at the messages below the button Build & Publish.

If you want to add Visemes to your character so it can move their mouth when you talk I recommend you to check our Visemes Guide:

Click your character in the Project Tab > Rig and change the Animation Type to Humanoid.

Go back to the VRChat Tab.

If you have this problem you have to click on Rig > Configure and select None in the UpperChest box and change the Chest bone to Spine2. Make sure that you have at least 3 fingers rigged:
​Thumb, Index and Middle to have Full IK and Tracking later.

If there is no Red Errors it should be fine. Then click Build & Publish. The build can take some time depending on your computer and the model you are uploading.

This should appear in the Game Tab. Here you can name the avatar, give a description, indicate if there is any content warning and if you want it to be able to be shared. Make sure to check that you own the rights of the characters. If for some reason in the future you upload a character you dont own you can have legal problems later.
​
To change the preview image you have to go to the Scene Tab and move the new VRCCam in the scene.
When you are done, click Upload and wait for the process to end!

Still have doubts?

Reach us on Discord!

Isn't it great when you talk with somebody online and you see his mouth moving while he talks? It really add ups to the experience, specially in Virtual Reality.

That's what this is about. Creating different shapes so you can see yourself talking when you look at a mirror.

Let's say you already have your model done, it's also rigged and skinned so its ready to go. But, you want to make some blend shapes because in-game they look neat and funny.

Well, let's make them!
​
First, we need to know how many blend shapes we need to make. VRChat uses 17 different blend shapes. These are:

It's important to know that these shapes that we are going to make will need to have a very specific name. For example, aa is called vrc.v_aa; ch is called vrc.v_ch; etc...
​
The only exceptions to this rule are the first 4 of the list. Their names will be vrc.blink_left, vrc.blink_right, etc...

As you can see in the image, there is no "." in any of the names, and that's because Maya doesn't let you write dots in the names. We will roll with it for the moment.
​
Duplicate your character and move it to a side. Hide what is not necessary and show what it is.
Use an image of reference to know how to shape the mouth depending on the shape you need.

This gives you a general idea of how I made the different shapes of the mouth depending on the viseme.
​
You can see that there is not any vrc.blink_right or vrc.lowerlid_right, but I will talk about that later.
​
Another thing to keep in mind is that even if vrc.v_sil doesn't change the shape whatsoever, you must change something regardless. When we use Blender later, when exporting, if Blender detects that "sil" it's the same as the base form, it will remove "sil" from the blend shapes. Move a vert a little bit, one that no one will see, on the back of the mouth, for example.
​
Now that we have every shape done, we will use the Shape Editor.
Open the Shape Editor in the sculpting tab in Maya. Or going to Deform>Blend Shape.

Now, select one shape that you created and then select the original model. Go to the Shape Editor and click on "Create Blend Shape". Repeat this with all the 17 shapes.

Before, I said that I didn't have any blink_right nor lowerlid_right and that's because you dont usually need them. If the character is symmetric, you can duplicate your blink_left, select the new target and in the Shape Editor go to Shapes > Flip Target.
​
This will create a mirror effect and making the right eye to blink. You should change the name once it's done.

We have every shape ready, so now we will export all the package. Select all the shapes, meshes and bones and go to export.
​
Be mindful of checking in the box of Animation and making sure that Blend Shapes is activated too, because if it's not, it wont export correctly.

Write the name you want and export it.

Now we will open Blender, where we will change the names of the shapes to the correct one.
Open a new scene and delete the objects that get created all the time. Camera and light too.
​
Then, import the file we made earlier.
Navigate through the menus to find the Shape Keys sub-menu.

Here you can change the names of all the shapes. Delete the first "_" and replace it with a "."
​
The last thing you have to do is to re arrange all the shapes to be in order. The order is the same as the list that I wrote at the beginning.

Once that's done, export as fbx.

You should have your Unity latest stable version already set up. If you don't, check this guide out made by my friend Alejandro Peño where he explain how to set it up.

With the character imported, we will add a new component called VRC_Avatar Descriptor.

We will draw the mesh into the "Face Mesh" section. All the visemes should appear below there.
Now just click on each section and select the corresponded viseme.

Like this.

Once it's finished, you can upload the character like you usually do. Again, if you don't know how, you can check this guide:

Blend shapes visemes are a great way to give life to your avatars in VRChat.
​I would 100% recommend using them in your future avatars.

Depending on the model it takes around 30 min to an hour to create all the shapes needed, and they look great.
​
It's a lot of fun making these, so give them a try!