# Unreal Engine 5 for Architecture - Full Beginner Course

https://www.youtube.com/watch?v=bT8aSTkpkDY

[00:27] hello hello hello and welcome welcome
[00:30] welcome to un real Engine 5 full
[00:32] architectural rendering course I'm gines
[00:36] kis and I will be your teacher for this
[00:39] whole journey of us creating the you
[00:43] know both architectural visualizations
[00:44] as well as architectural renders from
[00:46] start to finish in Android Engine 5 so
[00:50] to begin we of course need a model uh
[00:54] architectural model and I have one in
[00:58] Rhino that that was done in Rhino and I
[01:01] will be using that if you want this
[01:03] particular model to follow along
[01:06] precisely step by step then consider
[01:09] supporting the channel on patreon
[01:11] because I just put up every single thing
[01:14] that I create and I use uh for for my
[01:19] patreon
[01:20] supporters but you don't need this model
[01:23] to be able to follow along you can use
[01:25] your own so while this is a rhino model
[01:29] model you will be able to follow along
[01:32] even if you have you know your 3D model
[01:35] in 3ds Max or Cinema 4D uh Revit what's
[01:41] SketchUp is popular right and any other
[01:44] software so if
[01:46] you're that kind of a person that does
[01:49] not use Rhino that came out wrong
[01:51] doesn't matter uh then just skip ahead
[01:54] to the export stage but for Rhino users
[01:57] stay a while and listen so
[02:00] in terms of preparing the model for and
[02:03] real engine rendering there are not that
[02:07] many things to do you need to make sure
[02:09] that you are in centim rather than
[02:12] millimeters that your units are centimet
[02:15] so I'll just type in
[02:17] units
[02:19] enter Because Andre engine uses
[02:21] centimeters as its base uh unit
[02:26] right and after typing in units I will
[02:30] just go to model units and instead of millimeters I'll use centim like that.
[02:35] hit okay asks me would I like to scale the model uh I believe it's a no uh so I'll press no and then just to make sure I will measure you know one one of these um elements to to see if I didn't mess up.
[02:53] so for instance what's the thickness of this roof.
[02:57] distance from 1 Point 2 200 CM that is a boo boo that's a mistake.
[03:07] so apparently you do need to scale really quickly crl Z unit contrl Z to undo units back to centim hit okay and this time I will press scale model by 0.1 I will press yes we wait for it a bit oh there we go.
[03:31] got scaled and now if I measure this this should be 20 cm exactly well almost I I I think I misclicked but it is very close to uh 20 cm now you will notice uh that all of my soft edges that I have created for instance let me isolate this one out you can see that my geometry and the actual produced mesh are two different geometries right so this is due to the property in Rhino that's called Edge softening if I select my geometry and I go to properties Tab and I click on this Edge softening icon right here click here I can choose to have this kind of a chamfer this chamfer is very good if you're rendering with in inside
[04:33] of rhino if if you need it inside of rhino because um it creates these kind of chamfers that catch light and typically you have like 3 mm chamfers that are very very kind of small and they just kind of catch a glimpse of you know reflected light uh which makes the any kind of geometry more believable.
[04:54] we don't need that we don't need that so I will untick this and actually I will just show show all of the objects select everything in my scene go to air softening and untick the edge softening for all of my objects.
[05:08] once that is done I can uh click contrl s to save and just really quickly I will I will have this saved.
[05:19] once this is done I will start talking about the layering because it's quite important in Rhino to have all of your objects in correct layers and and to have a pretty clean system because that will make your life much much.
[05:34] easier later down the line in andreal engine.
[05:37] once you will start applying materials.
[05:39] because materials apply to um objects per layer bases which means if I go to layers here you can see that all of my um layers are named according to the materials that will be used for those layers so uh what's a good example yeah I guess glass right so these plates right here they're just glass and if I hide it that's my you know that's my glass layer once I'm in Unreal Engine I will just be able to apply the glass material onto every single object that is within the glass layer so make sure that you structure your layers in this way way and I would also suggest just uh coloring the layers in different colors just so that
[06:35] Visually it's easier for you to understand you know what's where and what are you dealing with in in your model.
[06:42] Um just uh really helps out visually so you can see that all of my layers have different colors here.
[06:51] All right with these steps done your file is kind of ready to go honestly.
[06:54] I mean there are a few more things that I might note but I will talk about them a little bit later.
[07:03] Well let me do one one last thing lights let me select the objects of the lights layer.
[07:14] So lights that are created in uh will this be better no it's not never mind.
[07:22] Lights that are created in Rhino these are just rectangular lights that are created in Rhino transfer uh to Unreal Engine and can be used as light sources in Unreal Engine so you can.
[07:36] preemptively create lights right uh to do so you just go to was it rendering tools no it's not uh or was it no yes.
[07:47] yes it is rendering tools create rectangular light and I have just created these planes on my um elements right here right so a little bit of accent lighting uh that will be shown um just to kind of give you an idea of how how the lights transfer besides that most of the lighting can be set up or is you're able to set up even this kind of lighting in an real engine right so if you don't have any lights don't worry about it it's fine now we can move on to exporting.
[08:23] exporting is done with a plugin that's called Data Smith and as you can see the plugin uh can be installed to 3DS Mac Cinema 4D Revit SketchUp all of these programs right so
[08:37] this is where all of the people who left you know at at early on in this course uh in this video now are coming back and then learning about this because the the pipeline so to say is going to be very very similar from here on out right for all of these users so you just downloaded the data Smith plugin you install it uh on your on your machines and for different softwares it's going to pop up in a different way but for Rhino users is just going to be this kind of a table uh let me just clean up the the background there we go it's kind of a table that has five buttons in it right and you can just uh click on the top tool bar here and drag and drop it in to any portion of the of your screen let me just scooch D5 and V away or now and yeah so we have
[09:39] synchronize toggle Auto synchronization.
[09:42] connections export 3D View and messages.
[09:46] um I will go through these once we start.
[09:49] actually exporting into an real engine.
[09:52] but before we do that we need to run a.
[09:54] real engine and actually set up the the.
[09:57] scene there right for for us to get the.
[10:00] file in so let's switch to Unreal Engine.
[10:06] all right so in terms of En real Engine 5 there are a few versions for us to choose from at least at the time of the recording.
[10:13] if I go to my epic games browser go to Unreal Engine click on Library you can see that I have two uh engine versions installed one is 5.1.1 which is the currently at the time of recording stable version and 5 5.2.0 which is an you know a newer but unstable version still in development.
[10:32] so just to increase the longevity of this course I will be using 5.2.0 but you can
[10:41] choose either one um for for yourself.
[10:45] because the menus are going to be exactly the same between the two so I'll click launch um for you uh if this is your first time launching a real engine it's going to take a little bit longer than then for Me Maybe a minute or so but eventually you'll be um you you you will receive this this kind of a window you will be presented with this window called andreal project browser.
[11:07] the project browser enables you to either open old projects or create new ones from templates and we have five templates to choose from and a few sub templates there uh simulation I'll go bottom up uh simulation um and it has like a simple little expl ation for each of these I will not read them for you uh we have cars Automotive or product design we have architecture templates we have film and video templates and we have video game
[11:43] templates and I personally would say that um the the the architecture template um is most likely the the the best way for us to uh to start our project with best way uh like it's the best template to start our project with.
[12:02] but in terms of uh sub templates um I would not go for AR this just because it has a lot of trash uh that you um don't really need like it's it's very good if you're um in it on your own and trying to understand what's going on with the Unreal Engine but I'm here for that so instead we will start with a blank template and I will explain you know different components uh within andreal engine verbally rather than you having them presented to you in a template you know as a tutorial so uh we choose blank template we go for project location um
[12:46] That's the default one for me is fine.
[12:49] And the project name is going to be just YouTube.
[12:51] Uh.
[12:53] And I'll hit create.
[12:56] Once I've done that, it's going to to start calculating the global shadings.
[12:59] Uh global shaders and compiling them.
[13:02] And you can see it's uh it needs to go through like a thousand of them.
[13:06] Uh this typically takes between 20 seconds or and and then like 20 minutes.
[13:10] And I don't understand why that range is so different.
[13:19] It seems like for me right now it's going to take closer to 20 seconds.
[13:24] So uh we're we're happy happy with that.
[13:27] Uh while this is loading, I'll talk really quickly about Unreal Engine itself.
[13:30] So Unreal Engine is a video game engine, right?
[13:37] So it's not restricted to just rendering or animation creation.
[13:39] It can have more functionalities, right?
[13:42] It can do virtual reality.
[13:45] It can you can.
[13:47] make games and and in a very very broad sense of the word games interactive environments right so because of this I feel like Unreal Engine 5 is the strongest possible um design representation tool that you can learn period
[14:08] no no questions about it uh there is not a single other tool that can be stronger than this with that being said it is a hardest the hardest uh representation dual that you can learn right so there's there's of course a tradeoff um
[14:26] now I can see that I need to move myself somewhere here just so that we are not blocking anything right um
[14:37] I know that some people don't like a talking head and While others prefer a talking head and statistically
[14:48] speaking more people prefer a talking head.
[14:51] so I'm staying I'm staying in this viewport.
[14:54] I'm uh I'm just going to try to make sure that I'm not blocking it anyway.
[14:59] in terms of what you see now with the project loaded in it's um uh pretty straightforward.
[15:07] you have the viewport uh the big window here.
[15:09] if you right click uh your mouse in the viewport you can look around.
[15:15] right click and hold you can look around.
[15:19] um if you right click hold or I don't think yeah you do.
[15:22] if you right click hold and press W you're moving forward.
[15:27] s backward a left d right W ASD movement like in video games right.
[15:32] so you're flying around then you have q to go down and E to go up right.
[15:39] so your piloting your camera this way um if
[15:48] you're not used to this.
[15:52] it's going to come to you really easily really quickly.
[15:55] I would give it like 20 minutes uh an hour maybe and you will start getting the feel of it and in a day or so it's going to feel quite quite natural.
[16:06] um I understand that Revit users and so on are much more used to scroll wheel which can also be done uh in a real engine to zoom in zoom out and but unfortunately I mean yeah it's it's a little bit a little bit worse than just W ASD okay.
[16:27] in terms of the viewport itself the there are a few settings that you can change.
[16:31] right so let's go from Top uh left and let's just look at all of the different settings um that you have within the viewport.
[16:39] so if I click on the furthest top left icon here you can see that there is this real time button.
[16:44] the real time button enables you to turn off any
[16:50] animations that are currently being simulated or playing in the viewport.
[16:55] if your computer is really checking along and not having a good time uh you can just turn off the real time animations.
[17:00] and then the the clouds stop being clouds and they just freeze.
[17:07] I believe I really hope that now if I turn this back on yeah they're moving okay thank God.
[17:20] okay the the clouds are moving all right so those those kind of animations it builds up really quickly once you have trees and wind yeah those kind of simulations really take a all on the graphics card right.
[17:33] so that's that's one very good thing to have show FPS this tick mark right here show FPS um shows you the how many frames per second are being generated right.
[17:49] so I would suggest um like
[17:53] anything above 30 frames per second is decent is fine unless you're doing virtual reality then then you need need like 90 for people not to get seasick uh or motion sick um but like 120 frames per second is a complete like Overkill so you would need to start optimizing your scene if this number drops below 30 and it's going to turn red so you will notice so that's uh frames per second there's more statistics that you can look at but uh let's not get into it too much right and in terms of all of the different in terms of all of the different settings that you can uh go for and that you can choose especially advanced settings I will not be covering them as much because I feel like this needs to be like an intro course and this would take just too long we don't want like a 12-hour course again um the
[18:55] Last one that I will kind of show you is field of view where you can change the the angle of the camera right.
[19:03] Um don't mess with this because every camera that that uh is in the scene can have its own unique field of view so the viewport camera that you're using to navigate in the viewport does not need to change does not need its own field of view so don't mess with that.
[19:22] Now here under perspective you can change uh to top bottom left like to different angles as well as you can change the camera to the actual actor right of your um sorry to actual cinematic uh camera actor so you can either go for perspective just general perspective view or you can go for top uh right left probably should zoom out right like that or you can go just for the cinema actor with which for it.
[19:59] it's going to it's now freaking out for some reason.
[20:05] why is it so bright?
[20:10] doesn't matter doesn't matter I'm going to keep it the the the way it is.
[20:17] all right I I think we are uh still are we piloting this?
[20:24] no we're not okay.
[20:27] never mind uh so um in in terms of the different views you can switch through them here.
[20:34] there's also a possibility to switch to cinematic view uh which takes a while to go in but cinematic view hides all of the you can see uh the boxes for like the different volumes and so on all of the helper geometry that is actually not geometry is hidden in the Cinematic view.
[20:56] default viewport shows you you know all of the
[20:59] different icons and different things
[21:01] that you have in the scene that are not
[21:03] necessarily geometry so that that's a
[21:06] thing then in terms of uh
[21:10] lit um here you have like different
[21:13] previews of the viewport of how the
[21:17] viewport is shown so you have the um
[21:20] shaded which is lit viewport basically
[21:23] if we have any kind of a I guess we
[21:26] should create like a
[21:30] apologies I'm I'm jumping back and forth
[21:32] but I kind I really want like a box in
[21:34] here to show the difference between lit
[21:37] and unlit so let's create a box um and
[21:41] after we've done that I will I won't
[21:43] explain anything else about the box but
[21:45] let's first create the box to do that
[21:47] you click on this little icon right here
[21:49] quickly add to the project icon bam you
[21:52] go to
[21:54] basic iide you go to shapes and you
[21:57] create a cube
[21:59] that's it that's that's the cube and
[22:01] it's placed at 0000 0 I believe no it's
[22:04] not doesn't matter you can just move it
[22:07] around and click anywhere else and taam
[22:11] you have a cube if you want to focus in
[22:14] to the cube right if let's say you're
[22:17] very far away and you don't want to like
[22:19] navigate to it you can just select the
[22:22] cube and type in uh or just press f f
[22:25] for focus and now you're your kind of
[22:29] your camera immediately focuses on the
[22:31] object right so now back to lit and lit
[22:35] um we have our little Cube here and we
[22:38] have our lit option so if I change this
[22:41] to un lit you can see that now all I can
[22:43] see is the textures and there's no
[22:47] Shadows No Light No no nothing right
[22:49] it's just textures um for those of you
[22:53] who are working with laptops this uh at
[22:56] later stages of the project uh this is
[22:59] going to be the preview mode that you
[23:01] will be using more uh simply because
[23:04] it's going to be faster lit preview mode
[23:06] usually um you know starts suffering
[23:10] also why is my frame counter not showing
[23:14] up I want to see it there we go there's
[23:17] also wireframe mode but uh I don't know
[23:19] I don't use
[23:21] it right um and I mean I say also
[23:25] wireframe mode there's so many different
[23:28] modes that you can see here there's the
[23:31] lighting only mode so basically no
[23:34] textures there's detail lighting only
[23:36] mode there's uh Reflections only mode
[23:40] right so everything is Chrome there is
[23:44] um what's a good one uh optimization no
[23:48] there's a path tracing mode that is now
[23:51] going to take a while to start
[23:54] up it's basically path tracing is a
[23:58] nonre time
[24:00] rendering um preview that actually
[24:04] renders the scene uh like it it traces
[24:08] the Rays of the scene so this is the
[24:10] most accurate rendering um method that
[24:13] you can have I would suggest not using
[24:16] it honestly because the future of
[24:19] architectural visualization is Real Time
[24:23] rendering and real time rate tracing
[24:25] rather than path tracing
[24:29] all right and uh let me show you
[24:31] something cool so let's say nanite
[24:37] overview
[24:40] nope really now it's not going to show
[24:46] me one
[24:52] second oh I think maybe I have nanite
[24:55] turned off so maybe Lumen overview yeah
[24:59] so it can have like different um
[25:02] optimization Windows uh that will help
[25:04] you understanding how is the light
[25:07] calculated right and what kind of
[25:09] layering comes into getting the light
[25:12] going in terms of nanite I will need to
[25:15] look into that because we definitely
[25:18] want nanite in our scene I will talk
[25:20] about nanite in a second I'm switching
[25:22] back to LIT mode because that's what we
[25:25] will be using most of the time then we
[25:27] have the show um basically what kind of
[25:30] things do you want to see in your scene
[25:33] you want to see most of the uh you don't
[25:35] want to see Collision keep it as default
[25:38] is what I'm saying keep it as default
[25:41] then on the right hand side top right
[25:43] hand side we have
[25:46] our
[25:47] um Gumball I guess in Rhino it's called
[25:50] Gumball but like uh move rotate scale uh
[25:54] gizmos so if I select my box by default
[25:57] you can see it's set to move there's
[25:59] also just object
[26:02] selection tool right just a mouse but if
[26:06] I switch to move then I can move it if I
[26:09] switch to rotate I can rotate
[26:12] it if I switch to scale I can scale it
[26:16] scaling in all uh three direction is
[26:19] done by clicking and dragging on the top
[26:23] uh sorry on the middle box if you want
[26:25] to scale it in One Direction you uh uh
[26:28] drag it on one of these axes right
[26:33] something like
[26:35] that
[26:39] apologies there we go um then we have
[26:43] this uh weird icon right here that uh
[26:46] Cycles between uh Global and local
[26:50] coordinate systems what uh it means is
[26:53] that if you rotate your object let's see
[26:58] like that and let me just move it up you
[27:02] can see that now after the object has
[27:04] been rotated the axis don't align the
[27:07] movement axis don't align with the
[27:09] object that's because currently this is
[27:11] set to a global coordinate system if I
[27:14] click on this now you can see that the
[27:16] ax is align and that's because the
[27:18] coordinate system is set to a local one
[27:21] of this object right so now the XY Z
[27:26] axis are rotated according to how the
[27:29] object was rotated uh quite a handy tool
[27:33] then we have the uh object snapping um
[27:38] to surfaces tool which does not oh there
[27:43] we
[27:45] go let me do that again so if I uh click
[27:50] the surface snapping if I tick mark that
[27:53] tool right like so uh it's going to um
[27:57] catch
[27:58] like any object that you drag is going
[28:01] to catch
[28:04] um what's the word
[28:08] oops um the surface either underneath or
[28:12] next to it and it's going to snap to the
[28:14] surface just like so all
[28:17] right uh useful for foliage and so on
[28:22] but not really useful for anything else
[28:24] so usually we have this turned off
[28:26] Surface snapping off andless Les we need
[28:29] it then we have grid snapping uh if you
[28:32] click on the number that's the
[28:33] increments in centimeters in terms of
[28:36] the grid snap so you can see now it's
[28:39] moving every 10
[28:41] cm if I increase this to
[28:47] 500 right much much larger step
[28:50] size back to 10 cm um and then you can
[28:54] turn it off Al together uh then we have
[28:57] the same thing with the angle snap and
[28:59] the scale snap so angle snap every uh
[29:04] 10° scale snap every
[29:11] 0.25 like the factor 0.25 of scale and
[29:15] then we have the camera speed setting
[29:17] which is basically you click on the
[29:20] camera speed and you change it to let's
[29:22] say eight now as you're navigating
[29:25] you're flying real fast right if you
[29:29] switch this to
[29:32] low
[29:34] 0.0
[29:36] 0.033 you can see how slow you get um so
[29:40] usually you uh you work with values
[29:42] around one because that's like normal
[29:45] human scale and if you need to do some
[29:48] really detailed work then you do like
[29:51] 0.0 or 0.1 or something like that uh
[29:56] that's the camera speed and then if you
[29:57] want more more than one viewport you
[29:59] just click on this icon you get more
[30:02] than like all four viewports and you can
[30:05] work on
[30:07] them
[30:11] individually it's weird that they kind
[30:13] of influence one another anyway um I
[30:17] would suggest working on a single
[30:19] viewport uh this whole uh this whole
[30:22] project as will
[30:24] I all right so that's that's that about
[30:27] the viewport
[30:29] itself all of the objects that are
[30:31] listed in the
[30:33] viewport uh or that are shown in the
[30:36] world that are populating the world not
[30:38] just geometries but also like fog and
[30:41] the north arrow thing and this um
[30:45] postprocessing volume box here and the
[30:48] cameras all of them are listed in this
[30:50] outliner that is in the top right corner
[30:53] like so so you can see the floor the
[30:56] cube that we've created and then so on
[30:59] right um so it's quite um quite a good
[31:03] thing to just see the outliner and be
[31:06] able to uh
[31:09] create or not create select uh select
[31:12] the objects within the outliner so make
[31:14] sure that you have that kind of cleaned
[31:16] up I believe if we press the play button
[31:22] now yeah if if if you press the top play
[31:26] button then you will be presented in a
[31:29] view of how it would look like if an exe
[31:32] file would be exported so the play
[31:34] button is here in the top uh we will not
[31:37] be pressing it a lot uh during this
[31:40] whole tutorial uh or course maybe at the
[31:43] end I will show you a few neat little
[31:46] things that you can do with it but for
[31:48] now we will uh stay away from it the
[31:52] reason why I pressed it in the first
[31:55] place is because I saw here the player
[31:57] start icon which usually tends to spawn
[32:01] that that's that's
[32:03] where you start the game right where
[32:06] where when you press
[32:08] play you are born so to see into the
[32:12] world uh in that particular location
[32:16] right of player start
[32:19] anyway if I select my box right now um I
[32:25] can see that it gets highlighted at an
[32:26] outliner and also so I get this details
[32:30] panel shown to me and the details panel
[32:33] um basically has everything uh there we
[32:37] go every single setting that this
[32:41] particular geometry might have right or
[32:46] or could could have uh starting with the
[32:50] actual geometry itself what kind of
[32:52] geometry is it um ending with you know
[32:55] like the mass how heavy it is is what
[32:58] kind of sound does it make when the
[33:00] footsteps step on it like a bunch of
[33:04] different different things including the
[33:06] materials so I can switch materials by
[33:09] um just just changing the material here
[33:12] we'll be working with this particular
[33:14] thing quite a lot all right so that's
[33:18] that's the details and you can see the
[33:19] details are um unique per every object
[33:23] right so every object has its own has
[33:27] its own details
[33:28] uh for instance if I um let's go back to
[33:31] cube um here I can change the location
[33:34] just from this panel alone without
[33:36] actually needing to use the the arrows
[33:40] right so I can type in the coordinates
[33:42] in which I want my object to be I can
[33:45] also type in the scale at which 20 at
[33:49] which I want this object to be
[33:54] right like that all right then also we
[33:58] have a world settings tab right here the
[34:00] world settings tab you don't mess around
[34:03] with uh because it's very easy to mess
[34:06] things up and usually you just go
[34:09] to um you go into it uh when you
[34:14] definitely need to change something
[34:16] right that's that's the rule so don't
[34:18] don't mess with it just yet let's go
[34:21] back to details tab now um I think we
[34:25] are ready we are ready
[34:29] to
[34:31] import our model into this uh into this
[34:36] file so you can either um you can do two
[34:40] things you can either create a new level
[34:43] because now we um this the way un real
[34:45] engine works is in uh levels right so
[34:48] you can have u in one project you can
[34:51] have multiple levels with
[34:53] multiple
[34:55] um how do you say
[34:58] architecture
[34:59] visualization
[35:01] um objects or or projects sorry so in in
[35:05] one Unreal Engine project you can have
[35:07] multiple architectural visualization
[35:09] projects right in form of levels uh
[35:12] which I think we should do I think we
[35:14] should create a new level so let me show
[35:16] you how under content drawer here in the
[35:19] bottom this is basically everything that
[35:22] you have in your
[35:26] um like all of the resources all of the
[35:29] files everything is going to be located
[35:33] in this content drawer uh so trees
[35:38] materials textures levels blueprints
[35:42] I'll talk about blueprints in a second
[35:44] and so on everything is located here and
[35:48] actually will have its own little folder
[35:50] in the uh your documents folder on
[35:55] windows so this is a a very important
[36:01] um window I guess to have all right so
[36:05] what we will do with it uh with content
[36:07] browser opened I will click on this dock
[36:10] in layout button like that and if it
[36:15] doesn't dock uh here in the bottom for
[36:17] you then you can uh just click on the
[36:21] content browser
[36:23] uh name here click and drag and you can
[36:27] dock it to anywhere honestly where
[36:30] wherever you want but I will be docking
[36:32] it just to uh right here to bottom of
[36:35] the window content browser all right so
[36:39] how do you create a new layer uh how do
[36:42] you create a new level uh to do that I
[36:45] will actually just uh first create a new
[36:47] folder rather than a new level so under
[36:51] um you can see here all content are with
[36:54] default so under content
[37:00] under here under this folder I will
[37:02] create a new one so I will just right
[37:06] click anywhere and choose new
[37:11] folder I'll just name it uh
[37:17] levels levels and now you can see under
[37:20] content we have arcv default which is
[37:23] you know the stuff that Unreal Engine
[37:25] created and we have our levels folder
[37:29] that we have just
[37:30] created in this folder I will create a
[37:33] new level so you right click again and
[37:35] you choose level that's as easy as it is
[37:39] level and we call it
[37:43] uh building
[37:46] one building
[37:48] one something like that right so this
[37:53] level is created great now I need to
[37:56] open it I need to run it so I'll just
[37:59] double click on
[38:00] it it asks me to save the old level
[38:04] before I can open a new one that's fine
[38:05] save selected we're fine with that and
[38:08] now a new level is opened it's going to
[38:12] be completely black because we don't you
[38:14] can see here we have absolutely nothing
[38:19] in our outliner right so there's no
[38:22] geometry there's no light there's no
[38:24] nothing so what do we do
[38:28] well the first thing to do is actually
[38:30] to get some geometry going right and to
[38:34] do that we can either import start
[38:36] importing our building or we
[38:40] can um one second I I need
[38:45] coffee or we can create um just as I did
[38:49] with a box quick uh add to the project
[38:53] shapes Cube or sphere let's just add the
[38:58] sphere right if I click anywhere on the
[39:01] screen outside of the where the sphere
[39:03] is you can see that it's still pitch
[39:05] black and that's because well there's no
[39:08] light right so our sphere is just in the
[39:11] middle of Darkness uh if I change this
[39:14] to from lit to unlit now I can actually
[39:17] see where the sphere is so it's actually
[39:19] not that big of a deal that we don't
[39:21] have light I think at this point it's uh
[39:24] we can just import our uh
[39:27] project and then we will create light
[39:31] for the project or should we do it other
[39:33] way
[39:36] around perhaps let's do it other way
[39:38] around like all right uh let let's first
[39:41] create light for this sphere so that the
[39:43] lit works and then we will import the
[39:46] project yeah I think that even though I
[39:48] work opposite way I first get the
[39:50] geometry in and then create the light I
[39:52] think for you visually it would be
[39:54] easier to first see the the ACT ual the
[39:58] actual sphere right so uh to create the
[40:02] light it's actually very easy in Unreal
[40:06] Engine you do uh you need to go to
[40:09] window and choose environment light
[40:13] mixer this is like a very very useful
[40:16] tool that uh for some reason uh people
[40:18] don't
[40:20] really use I don't know why but it's
[40:23] super useful to create lights
[40:26] environment light mixer like that opens
[40:28] up a new tab right here which I will
[40:31] just
[40:32] drag and dock it oops uh dock it right
[40:37] like so so now I have content browser
[40:39] here environment light mixer here two
[40:42] tabs so to create a light condition in
[40:48] our scene we need to create a skylight
[40:51] which is basically bam our environment
[40:54] light then we need to create a
[40:57] atmospheric
[41:00] lights we need to create Sky
[41:04] atmosphere so now we have the
[41:07] sky we need to create volumetric
[41:11] clouds and we need to create height
[41:17] fog that's
[41:19] it we have ourselves a little bit of a a
[41:24] light situation going on now in terms of
[41:29] uh and you can see that all of them are
[41:30] are kind of
[41:32] created
[41:34] apologies all of them are are created uh
[41:38] right right here right so uh the only uh
[41:42] one that I'm not so sure about
[41:47] is no the Skylight is actually
[41:52] fine just wonder about this fear one
[41:55] second
[42:05] seems like the sphere is not really
[42:08] happy with the like the shadow of the
[42:11] sphere is still very dark which uh we
[42:15] will need to keep an eye out for maybe
[42:17] the exponential height fog is hasn't
[42:19] kicked in or something like that but uh
[42:22] this should be the correct way of how to
[42:24] do it I've never had problems with it so
[42:27] I will trust trust the process so to say
[42:31] trust the process at this point I will
[42:33] delete the sphere because we don't need
[42:35] it we have our nice environment in which
[42:39] we can actually import our building so
[42:42] let's do that um one one last thing
[42:46] sorry before we do that uh I want all of
[42:49] these little icons that are the
[42:51] directional light and the exponential
[42:55] height fog and the Sky atmosphere like
[42:58] all of these different icons that
[43:00] represent different um lighting
[43:04] conditions right I want them to be maybe
[43:08] this one is oh I don't do that
[43:12] um I I want them to be grouped here uh
[43:16] so that I can just just kind of condense
[43:18] them into one one folder uh right here
[43:23] so I'll just right click in my outliner
[43:26] create folder name it
[43:28] light uh and
[43:35] environment select all of these lights
[43:37] drag and drop them in minimize that's it
[43:40] now now now they can live there happily
[43:43] ever after if I want to I can uh go back
[43:47] in here select all of them and just drag
[43:50] them away from my 0000 Z coordinate that
[43:53] is going to be populated with the
[43:55] building so now finally we can import
[43:59] our building I will prepare a folder so
[44:01] I'll go back to content and I'll create
[44:03] a new
[44:05] folder um new folder called um let's say
[44:12] geometry
[44:13] geometry open that one up and inside of
[44:16] geometry folder I'll create a new new
[44:18] one called building
[44:22] one um
[44:25] underscore data
[44:28] Smith and my data Smith uh like import
[44:32] from Rhino will live inside of this
[44:35] folder so content geometry building one
[44:37] data Smith now back in Rhino we need to
[44:42] synchronize the the file with a real
[44:46] engine right so so that the geometry
[44:48] that we have here actually gets linked
[44:52] uh create like a live link is created
[44:54] between the geometry that we have there
[44:56] into to here um into our building one
[45:00] data Smith
[45:01] folder there are two ways of how you can
[45:03] do that either a live data link between
[45:07] Rhino and data SMI so every time you or
[45:10] Rhino and unreal so every time you
[45:12] change some geometry and you move it
[45:14] around and so on it gets updated inside
[45:17] of uh Unreal Engine or you can do a
[45:21] static export which is just uh the
[45:24] current state of your project is EXP
[45:26] Port it into Unreal Engine and it's not
[45:29] Dynamic anymore right um I can show you
[45:33] both ways of how to do this but in my
[45:36] opinion
[45:37] the a much more stable way is actually
[45:42] to do it stat static right especially if
[45:45] you're sharing your data Smith file with
[45:49] other team members then this becomes
[45:52] much more of a foolproof thing that you
[45:54] don't mess up as much with lack of
[45:57] convenience of it being Dynamic so if
[45:59] you want to change something uh you
[46:01] would actually need to get in there and
[46:05] um change it manually later down the
[46:08] line or repport it manually later down
[46:11] the line
[46:13] um I will show you both both ways of how
[46:16] to do this we but I will choose the
[46:18] static one later so the real time uh
[46:23] link between Rhino and or any software
[46:27] that you have and um unreal is done by
[46:34] creating uh uh
[46:36] um it's kind of a data Smith direct link
[46:41] import right so if you
[46:45] don't if you don't see this under
[46:48] quickly add to the project data Smith
[46:50] direct link import or if you don't see
[46:51] data Smith all together that means you
[46:54] need to First install a plug-in and you
[46:57] install plugins into Unreal Engine
[47:00] through
[47:01] settings
[47:06] plugins settings top right corner by the
[47:09] way plugins and here typing in data
[47:12] Smith and make sure that you're uh tick
[47:15] marking data Smith CAD importer rather
[47:18] than data Smith C Cinema 4D importer
[47:21] actually you can use all of these listic
[47:24] Mark all of these and it's going to work
[47:26] but the cad importer is actually the one
[47:29] that we will be using that's used for
[47:32] Rhino all right uh once you T mark that
[47:35] it's probably going to ask you to
[47:37] restart uh Unreal Engine do that and
[47:40] then you will be good to go so once it's
[47:44] installed then you will see the data
[47:46] Smith uh file here which will ask you
[47:49] for two things file import that's the
[47:51] static one and direct link import that's
[47:53] the dynamic one I'll choose direct link
[47:56] import
[47:57] here where it's going to list all of the
[48:00] opened Rhino files that it currently has
[48:04] access to right so I have the Rhino file
[48:06] right here right in my Rhino if I click
[48:11] on connections um it's data Smith direct
[48:15] link connections it still does not see
[48:18] any connections here so it does not
[48:22] um how do I
[48:24] say it means that the Rhino file does
[48:26] not know that it's being linked
[48:28] currently which is fine right back in
[48:31] here in inreal engine I'll just select
[48:33] my Rhino file hit click on select and
[48:37] it's going to basically create a
[48:38] connection for me now back
[48:43] in come on back in
[48:46] Rhino um I can now click on connections
[48:51] and you'll see that indeed once I
[48:53] selected that particular Rhino file you
[48:55] know my base model file uh the a
[49:00] connection has been
[49:01] established between uh Unreal Engine and
[49:04] Rhino that's good which means that now
[49:07] if I synchronize with direct link
[49:12] bam it exports the meshes we go back in
[49:16] here we go to file data Smith direct
[49:20] link import select it again hit select
[49:24] and now it is going to to let me choose
[49:28] the location where I want to import my
[49:31] project right so I can choose building
[49:34] one um data Smith right something like
[49:38] that and uh at that point I would hit
[49:41] okay and it would just kind of populate
[49:44] the scene with my Rhino file I will not
[49:47] be doing
[49:48] that I will not be doing that because as
[49:51] I said I want a static object and this
[49:54] is my course so I do what I want
[49:57] um so I'll hit cancel and I'll show you
[49:59] how to do a static export you know a
[50:01] current state of the file is exported
[50:04] into and real engine so to do that I
[50:08] will just click on this icon export 3D
[50:13] view like
[50:14] that I will go to uh let's say yeah sure
[50:20] we can stick to rendering I'll just call
[50:23] this
[50:24] ue5 uh data Smith
[50:28] like that and I'll just yeah I'll leave
[50:30] it as base model.
[50:33] datasmith right I hit save and it's just
[50:36] going to export my uh data Smith
[50:40] file um as an external little file that
[50:43] you can also by the way send now to your
[50:47] co-workers for them to work with the
[50:49] file that you um that you've just
[50:52] exported uh much much uh more stable in
[50:56] my opinion a much more stable workflow
[50:59] especially for
[51:00] newcomers so now how do you get it in
[51:03] here you just go to your quick quickly
[51:06] add to the project tab you click on data
[51:08] Smith and instead of directly import you
[51:10] click on file import like that you find
[51:15] where the hell did you save it I believe
[51:19] mine is
[51:20] [Music]
[51:23] under uh
[51:25] rendering real engine F yeah there we go
[51:28] data Smith base model. datasmith
[51:33] right so we hit
[51:37] open choose location for importing the
[51:40] data Smith content exactly the same menu
[51:42] as what we had before building one data
[51:45] Smith hit
[51:46] okay gives me this uh menu basically
[51:51] asks me what kind of geometry would I
[51:53] like to import it's or what what kind of
[51:56] objects would I like to import from my
[51:59] uh data Smith file in in my case I only
[52:03] care about geometry honestly I don't
[52:05] care about materials or anything like
[52:07] that I only care about the geometry so
[52:10] I'll actually untick the lights as
[52:13] well I'll have this uh
[52:16] unticked and let's just hit
[52:20] import there we go now it's slowly going
[52:23] to load in all of the objects into the
[52:25] scene and and all of them will have this
[52:27] kind of a gray grid uh on top of them as
[52:31] material that just basically tells you
[52:34] uh tells us what's the
[52:38] error canot find stting mesh
[52:42] B uh let's just ignore that
[52:46] um so that that gray grid material just
[52:49] tells us that uh there's no material
[52:52] associated with uh these uh particular
[52:55] geometries it's fine with
[53:02] us come on load
[53:05] load as it's loading I will
[53:09] slowly navigate
[53:12] to to my
[53:17] project like that
[53:30] Yep looks about right and yeah at this
[53:34] point we can start uh start developing
[53:38] it now it seems like the light is still
[53:42] a little bit iffy I'm not sure what's
[53:46] what's up with that so I what I can do
[53:49] is I can just
[53:53] um investigate I guess
[54:02] okay so direct lights like
[54:05] that best way to do it is just to
[54:11] um that's the environment or Sky
[54:15] atmosphere with the ground albo
[54:27] and then we have
[54:28] mult the clouds and we have indirect
[54:30] light
[54:31] intensity right here well we'll need to
[54:35] we'll need to look at that a little bit
[54:37] later sorry for for jumping around now
[54:41] we are done with importing
[54:43] the um our our our little building right
[54:47] here so now it's time to actually start
[54:50] adding materials and start talking about
[54:54] materials
[54:57] so before we start actually using a
[55:00] library for materials because that's
[55:02] what you do in 2023 use a library I want
[55:05] to guide you through just the pure
[55:07] basics of material Creation in Unreal
[55:09] Engine so that you kind of understand
[55:11] the main Concepts behind the materials
[55:15] that you will be working with so in
[55:18] Unreal Engine there are two types uh of
[55:21] materials um Master materials and
[55:24] material instances and basically from
[55:26] master master material would be
[55:29] something that would be called
[55:31] color base color right and it would have
[55:37] a color associated with a material set
[55:40] as a variable so that material could
[55:43] have any color that you want it it's a
[55:45] variable and then from that Master
[55:48] material you create branches so you
[55:51] create these instances and each instance
[55:54] has you know let's say the variable is
[55:56] set to Blue so then you get the blue
[55:58] material the variable is set to Red you
[56:00] get the red material right and yada yada
[56:03] so that's what we're I'm going to be
[56:04] creating just to uh explain to you the
[56:08] principles right uh for this I have
[56:10] created a folder called materials that's
[56:14] under content materials and inside of it
[56:17] I've created another folder called
[56:19] Masters I'll double click on that all
[56:22] right so now I'm inside of that Master's
[56:24] folder I'll right click inside of it and
[56:27] choose material right here click and
[56:31] I'll just name it my um color
[56:36] base um
[56:41] Master color base Master material right
[56:44] now I can double click that material so
[56:48] and it's going to open up a new tab any
[56:50] kind of new tab that is opened up again
[56:53] you can be docked to anywhere in the
[56:55] real engine so I can just uh drag on its
[56:58] name and just dock it next to my um
[57:03] building one like level tab right so I
[57:06] can switch between these quite
[57:08] easily now those of you who are familiar
[57:11] with Grasshopper will have Vietnam
[57:13] flashbacks of what you see here yes it
[57:16] is a node editor in in terms of the
[57:18] color but well I I strongly believe that
[57:23] that's the mo the most optimal way of
[57:25] how you can create materials or any kind
[57:27] of a more complex system so it's fine
[57:30] with us now for the base
[57:34] color right for the base color I'm going
[57:38] to use um a variable as I said so I will
[57:43] just drag out I'll click uh click on
[57:46] this little input for the base I'll and
[57:49] I'll drag
[57:50] out
[57:52] um wire and as I release the button it
[57:55] asks me to give it uh to you know what's
[57:58] the node that you're trying to connect
[58:01] and I believe the node is called
[58:04] constant three
[58:07] Vector really hope that that's the
[58:09] correct one constant 3
[58:12] Vector like that yes constant 3 Vector
[58:16] that by default is set to red green blue
[58:19] 0 0 0 right so if I set the red to one
[58:25] you know one 0 0 then it becomes red if
[58:28] I set um red and green to
[58:33] one then it becomes yellow and so on I
[58:36] can also double click on the color here
[58:39] and just choose from the color what's
[58:42] what's the default value right so that's
[58:46] my that's my material I can also um make
[58:51] it so right now it's a constant right
[58:53] meaning it can't change so any kind of a
[58:56] instance material that I create from
[58:58] this will be the exactly the same
[59:01] material um that we that we have here
[59:05] that's no good that's bad so I want this
[59:08] to become a variable what I do with it
[59:11] is I right click on this node and I
[59:15] change the change it to convert to
[59:17] parameter right change it into a
[59:20] parameter call it
[59:23] base color
[59:26] and now I have a parameter that can be
[59:29] that can be changed and it has the
[59:30] default value of pink sure that's fine
[59:33] with me that's my base color for um
[59:38] another like input you can see like
[59:40] there's plenty of inputs here I I'll
[59:43] I'll really quickly go through them the
[59:46] metallic input is basically between zero
[59:48] and one is it a metal is it not a metal
[59:51] right so for the metallic input here I
[59:54] will just I believe I can just hold one
[59:57] on my keyboard and click and it just
[01:00:00] creates um a
[01:00:03] constant value or I can just type in
[01:00:08] constant like that um and it will create
[01:00:12] the same node but the shortcut is
[01:00:14] holding down the key one number one and
[01:00:17] just clicking it uh clicking anywhere on
[01:00:20] the canvas so I'll connect it to
[01:00:23] metallic and now you can see with uh con
[01:00:26] value being zero it's non- metallic with
[01:00:30] constant value being one I'll just
[01:00:32] change this this is now
[01:00:35] metallic
[01:00:37] right
[01:00:39] um in terms of one
[01:00:43] second so this one I also want it to be
[01:00:46] variable I wanted to be able to change
[01:00:48] the value between Zer and one on a
[01:00:51] moment's notice without actually going
[01:00:54] into this um
[01:00:56] uh this material setting right so I'll
[01:00:58] right click and choose convert to
[01:01:00] parameter again and call this
[01:01:05] metallic call this metallic and theault
[01:01:07] value I want to be zero so only if I
[01:01:10] want it to become metal will I change
[01:01:12] this value to one layer down the line
[01:01:15] right so now it's it's a parameter again
[01:01:18] so parameters are variables that you can
[01:01:21] later change without accessing like this
[01:01:24] weird node system you only need to set
[01:01:27] it up once specular we don't uh work
[01:01:31] with specular if we're working with
[01:01:32] metallic we work with roughness
[01:01:35] instead um or wait do we I don't want to
[01:01:40] lie I hope we don't anyway uh let's skip
[01:01:44] over specular for now because we need to
[01:01:48] move ahead uh instead we use roughness
[01:01:51] right roughness is basically how
[01:01:53] reflective the surface is or how matte
[01:01:56] the surface is so that is again a value
[01:01:59] a single value not a color uh so we hold
[01:02:02] one click and the value is again between
[01:02:05] zero and one so if I connect zero to
[01:02:08] roughness you can see that it's glossy
[01:02:11] like
[01:02:12] that if my roughness is set to
[01:02:17] one it's Matt like that so I will have
[01:02:21] roughness set to
[01:02:23] 0.3 in this case and I will convert this
[01:02:26] to a parameter call call it
[01:02:29] roughness there are more options here of
[01:02:32] course that you can um investigate on
[01:02:35] your own but the main ones are these
[01:02:39] three well of course there's uh always
[01:02:42] the normal maps and the emissive maps
[01:02:45] but uh those are a little bit more Niche
[01:02:48] we will I will touch upon them a little
[01:02:50] bit later so for now oops uh for now we
[01:02:54] are good with the this once this is done
[01:02:57] I can just save
[01:03:02] this and I can close
[01:03:05] this right so now I have my master
[01:03:08] material created right here how do we
[01:03:11] create instances from the master
[01:03:13] material well we just right click on it
[01:03:16] and choose create material
[01:03:18] instance and I will just call my first
[01:03:21] material
[01:03:23] instance um
[01:03:29] white I'll double click on
[01:03:32] it and now we can see that as I double
[01:03:35] click on the I'll just drag it in here
[01:03:38] as I double click on my material
[01:03:40] instance it's not uh it doesn't have any
[01:03:43] nodes anymore rather it
[01:03:47] has um these these parameters here that
[01:03:50] we can tick mark and now we can change
[01:03:52] in real
[01:03:54] time right
[01:03:56] so that that's pretty neat that that's
[01:03:58] pretty nice come on come on that that's
[01:04:00] that's pretty nice because uh you can
[01:04:03] also I'll take Mark those two right uh
[01:04:07] you you get like these nice little
[01:04:10] sliders
[01:04:11] um now to actually let's apply let's
[01:04:15] apply the white material
[01:04:18] onto let's say this this particular
[01:04:22] tile I don't know what's up with this
[01:04:24] tile but I will apply apply the white
[01:04:27] material on it how do you do that you
[01:04:29] can drag and
[01:04:30] drop like that let me contrl Z you can
[01:04:34] also uh as you select the tile in the
[01:04:37] outliner it shows you the details of
[01:04:41] that object and here you can see the
[01:04:43] material right here is set to none so I
[01:04:47] can just drag and drop my my material in
[01:04:50] here like that or third way is just
[01:04:54] searching
[01:04:56] so clicking on the none or clicking on
[01:04:58] this little arrow and searching for the
[01:05:00] materials here
[01:05:03] white and selecting it there right so
[01:05:06] you're basically applying a property to
[01:05:09] the object so now this is white right
[01:05:14] great that's white so now um what if I
[01:05:18] want this to be black right I would just
[01:05:22] right click on this material master
[01:05:27] Master material create material
[01:05:30] instance
[01:05:33] black double click
[01:05:38] that it's expanded change the base color
[01:05:42] to well you guess it to
[01:05:46] Black hit
[01:05:50] okay
[01:05:52] save close and then just drag and draw
[01:05:55] black on top of this so now we have
[01:05:58] white and black and if I want to now if
[01:06:00] I change the let's say the white
[01:06:03] material it
[01:06:05] automatically adjusts the tile color
[01:06:09] immediately in my viewport so it's real
[01:06:12] time um now let's talk okay now it's
[01:06:17] time to talk let's let's cancel out of
[01:06:20] that and for now I'm just going to keep
[01:06:23] them the way they are that's fine but
[01:06:25] let's talk about
[01:06:30] the what's white what's black and what's
[01:06:33] gray because this is this is a very
[01:06:36] important like notion in terms of colors
[01:06:39] nothing nothing in the world is pure
[01:06:42] white nothing nothing in the world is
[01:06:44] pure black so if you're using pure white
[01:06:48] colors or pure black colors right uh for
[01:06:53] materials you will have a very very hard
[01:06:56] time creating a photo realistic
[01:06:58] render so what constitutes white and
[01:07:03] what constitutes
[01:07:04] black um tar black you know completely
[01:07:09] like black material I'm not talking
[01:07:11] about vanta Black by the way because
[01:07:13] that's a little bit different but tar
[01:07:16] black has the albo color which is the
[01:07:20] base color of
[01:07:22] 0.05 I believe or 0.04 or maybe
[01:07:27] so and and nothing should be darker than
[01:07:30] that that looks natural right so for the
[01:07:33] base color for my black I will click on
[01:07:35] this uh on the color and for the red
[01:07:39] green blue I will just
[01:07:42] change uh both red green and blue to
[01:07:45] 0.04
[01:07:47] all all three of these like that I could
[01:07:51] also change the value could have changed
[01:07:53] the value to
[01:07:54] 0.04 right
[01:07:56] so that's my um that's my black color
[01:08:00] save then for my white
[01:08:05] color
[01:08:07] um what's what's very white I I believe
[01:08:10] snow uh this is from William for
[01:08:13] forner another YouTuber I'll I'll put
[01:08:16] his um channel in the video description
[01:08:20] he does amazing work with the uh
[01:08:22] tutorials explaining the light and the
[01:08:25] color theory in Unreal Engine but from
[01:08:29] him I if I remember correctly I might be
[01:08:31] wrong about this but uh I think it's the
[01:08:34] snow I think the fresh snow is somewhere
[01:08:37] between um
[01:08:40] 0.8 and 0.9 in value so here I'm just
[01:08:46] going to switch uh to full blast uh Pure
[01:08:51] White and then tone it down to uh let's
[01:08:54] go for 0
[01:08:56] 85 something like that hit okay so
[01:09:00] that's pure white right save that save
[01:09:05] that close both now we also want one
[01:09:10] more uh or or two more materials uh uh
[01:09:15] material instances from this one is
[01:09:17] going to be uh middle gray and because I
[01:09:21] need to talk about that that's also from
[01:09:23] William by the way great guy
[01:09:26] and the third one or fourth one I guess
[01:09:29] is going to be the the
[01:09:32] the pure metallic material so let's go
[01:09:36] for uh middle gray first right click
[01:09:39] create material
[01:09:40] instances mid
[01:09:43] gray is gray with a or
[01:09:46] E it's going to be e mid gray uh base
[01:09:51] color I switch this to uh again for full
[01:09:55] full white and then tone it down
[01:09:58] to you would think it's 0.5 it's not
[01:10:02] actually uh middle gray is
[01:10:07] 0.18 if I wait am I remembering this
[01:10:11] correctly yes I think I am um it's not a
[01:10:17] linear scale like the exposure of the
[01:10:21] camera of the eye like just how the
[01:10:23] light works is not a linear scale scale
[01:10:25] so actually the middle
[01:10:27] gray is at
[01:10:31] 0.18 of
[01:10:34] value hit okay that's mid gray hit save
[01:10:38] okay last one I
[01:10:41] promise it's not actually last one but
[01:10:44] uh we're we're getting there create
[01:10:46] material instance and call this metal
[01:10:51] uh
[01:10:53] reflection metal reflection double click
[01:10:57] that base color um I actually want it to
[01:11:01] be like
[01:11:02] um Almost White so
[01:11:08] 0.85 uh for the reflection metallic I
[01:11:11] want to set it to whoops uh to full
[01:11:14] blast one and roughness uh let's do
[01:11:18] something like
[01:11:20] um
[01:11:22] 0.05 like very low refence
[01:11:25] so it's it's mostly like Chrome uh
[01:11:28] Chrome ball right save
[01:11:31] that now we're we're cooking now we have
[01:11:35] four materials that are white mid gray
[01:11:39] black and
[01:11:40] metal uh these four materials can be
[01:11:43] used to create um to calibrate for the
[01:11:47] light right but for now what I'm going
[01:11:50] to be using them um for well actually we
[01:11:54] can we can calibrate for the light later
[01:11:57] later we will be coming back to this now
[01:12:01] to migrate these materials
[01:12:04] into uh away from the master's material
[01:12:08] uh folder I just holding the control key
[01:12:10] I'll just select the four materials and
[01:12:13] just drag them back into my materials
[01:12:17] folder right here bam move
[01:12:22] here there we go easy now they're
[01:12:25] located here while their Master material
[01:12:27] is located here so now now we finally
[01:12:30] get to use the library the Unreal Engine
[01:12:35] has two libraries actually well it's
[01:12:38] weird uh like the marketplace you could
[01:12:41] call that a library as well as quixel
[01:12:43] meas scans Library which is an actual
[01:12:45] library or for both um objects as well
[01:12:50] as materials there's also decals and
[01:12:53] Deals and so on
[01:12:55] uh but we will be right now focusing on
[01:12:57] materials and I'll show you both of them
[01:13:00] but we'll start with the quickel mega
[01:13:02] scans so to get it to work you do need a
[01:13:06] quicksell bridge plugin that is for un
[01:13:08] real engine five and you can get that by
[01:13:11] going to
[01:13:12] settings plugins typing in
[01:13:17] qi quick cell quick
[01:13:19] cell quick cell uh tick marking this and
[01:13:24] yeah making sure that that it's
[01:13:25] installed uh you might need to restart
[01:13:27] Unreal Engine for this once it's
[01:13:30] installed you can go here in the top
[01:13:33] quickly add to the
[01:13:34] project and choose quickel
[01:13:37] bridge this will allow access yes this
[01:13:42] will open up a new um folder for you uh
[01:13:47] or window for you that can be easily
[01:13:50] docked to uh anywhere on your scene so I
[01:13:55] will probably I should dock it right
[01:13:58] here I
[01:14:00] think bam like
[01:14:04] so there we
[01:14:09] go h no that's bad I'll I'll dock it
[01:14:14] here um sorry for for for doing this I I
[01:14:18] just want to find like a good good
[01:14:22] balance for for the the
[01:14:28] showcase for the course because usually
[01:14:30] I have it here but now it seems like
[01:14:32] it's going to be too too
[01:14:34] small all right so now with the quickel
[01:14:37] bridge being conveniently placed here
[01:14:41] for us let's take a look at how we can
[01:14:43] actually get stuff into our file right
[01:14:48] because all of these assets right now
[01:14:50] are still uh on the internet and we need
[01:14:53] to download them so
[01:14:55] so basically the way it works is that
[01:14:59] you go through this library of either 3D
[01:15:02] assets plant surfaces or deal or
[01:15:05] imperfections and you find the materials
[01:15:09] or 3D Ms that you want so in this case
[01:15:13] we are searching for materials right so
[01:15:15] I'm going to go to
[01:15:17] surfaces right here and here we will
[01:15:21] have all of the different material kind
[01:15:24] of types I guess um I will start by
[01:15:29] choosing one that would be useful for
[01:15:32] our facade as wood so
[01:15:37] wood uh I guess we can go ooh
[01:15:41] immediately I'm seeing this wooden
[01:15:44] cladding that I kind of like so yeah
[01:15:47] sure let's just download it so Woodin
[01:15:50] cladding I select
[01:15:52] the the cladding that um I
[01:15:55] like or the material that I like I click
[01:15:57] on it here I can see the preview of it
[01:16:01] this tells me how um how the tiling
[01:16:05] Works uh for for the material right so
[01:16:07] it's the one to one scale tiling is 2x
[01:16:11] one meter I need to keep that in mind
[01:16:14] right so every 2 m in length it's going
[01:16:16] to start repeating every one meter in
[01:16:18] height it's going to start repeating and
[01:16:21] here I can also choose oops I can also
[01:16:24] choose um different qualities uh for my
[01:16:28] particular material for this course I
[01:16:31] will be using medium quality materials
[01:16:33] just because I don't want to um burn my
[01:16:37] graphics card so I click
[01:16:40] download um it takes a little bit of
[01:16:43] time but it downloads and uh once it's
[01:16:46] done I can click on ADD and once I click
[01:16:49] the add button it creates a new folder
[01:16:52] called Mega scans in it Sur es inside of
[01:16:56] that the material with three textures
[01:17:00] that that material uses if I double
[01:17:03] click on this material you can
[01:17:07] see how it looks like nothing too
[01:17:10] special and all of the different
[01:17:12] settings that you can change so as you
[01:17:15] can probably tell the master material of
[01:17:18] this is gnarly it's really really
[01:17:22] gnarly um the only thing that we uh care
[01:17:26] about in terms of
[01:17:28] the uh what's what's the word in in
[01:17:31] terms of changing this material is the
[01:17:34] offsetting or tiling uh but I'll show
[01:17:37] you that in just a second let me close
[01:17:39] this and first let's apply it so I will
[01:17:42] be applying it to this facade uh which
[01:17:44] is under Woods facade wood B 511 I
[01:17:48] remember that uh quite quite well that I
[01:17:51] have a single surface or polysurface as
[01:17:55] my facade and I will just I I select it
[01:17:59] right and I just drag my material over
[01:18:03] to here to this menu box on
[01:18:06] the right hand side right so that's
[01:18:09] typically the cleanest way of how you
[01:18:11] can apply material you make sure that
[01:18:13] you don't misclick accidentally when
[01:18:16] you're doing it this way so I release
[01:18:19] and now I have my uh planks being laid
[01:18:23] out on on this
[01:18:25] facade which is not that bad honestly
[01:18:28] could be worse could be worse so now in
[01:18:31] terms of
[01:18:33] tiling um seems like
[01:18:36] the while the height of it is correct
[01:18:39] it's kind of squished uh in in terms of
[01:18:43] length so I need to adjust the tiling of
[01:18:46] this texture how do I do that I double
[01:18:49] click on the material and let's let's
[01:18:51] just have it uh it's very big isn't it
[01:18:55] just make it a little bit smaller like
[01:18:59] so so that I can also see the the facade
[01:19:04] I tick mark tiling offset because I will
[01:19:07] be
[01:19:08] changing my
[01:19:10] tiling and for tiling X and tiling y I
[01:19:14] need to change one of these to
[01:19:17] 0.5 I don't remember which one
[01:19:21] definitely not that one so that stays as
[01:19:23] one
[01:19:25] there we go 0.5 actually let me drag uh
[01:19:29] let let me use this as a oops let me use
[01:19:31] this as a slider so that you see how
[01:19:33] this works uh if my tiling is
[01:19:37] um very high like 100 it repeats a lot
[01:19:43] right so the lower the number the more
[01:19:46] stretched it is and I remember that it's
[01:19:48] 2 by one so this needs to be
[01:19:51] 0.5 for it to work
[01:19:55] right so that's done I close this now my
[01:19:59] my planks are kind of okay I mean they
[01:20:02] they could be better could be better but
[01:20:04] uh it it is what it is um I actually
[01:20:08] don't really like this um this is too
[01:20:11] rustic for this type of a building so I
[01:20:14] will find uh different different
[01:20:18] cladding uh let's see let's see let's
[01:20:20] see Japanese wooden what's that wooden
[01:20:24] deck no now wooden planks these look
[01:20:28] nice okay let's let's use black wooden
[01:20:31] planks those look quite nice I will
[01:20:34] download
[01:20:37] them there we go I will import that
[01:20:41] import them and now I have another one
[01:20:44] within planks and all I need to do to
[01:20:47] replace it is just drag and drop in like
[01:20:50] so the tiling is off right now the
[01:20:53] planks are way too big so I'll double
[01:20:56] click it go to tiling and increase the
[01:21:00] tiling of these two by two I
[01:21:05] guess does that look better hard to
[01:21:12] tell
[01:21:18] maybe the lightness by the way how
[01:21:21] bright or how dark it is we will we will
[01:21:24] be fixing that a little bit later for
[01:21:27] now this seems
[01:21:29] okayish kind of kind of okay we we stick
[01:21:33] we stick with
[01:21:34] that all right so that's that's our uh
[01:21:37] wooden planks let's do one more for the
[01:21:39] roof and then I will kind of quickly I
[01:21:42] I'll do a time lapse of me applying
[01:21:44] materials to to this geometry so um
[01:21:48] let's do the
[01:21:49] roof close that go to surfaces
[01:21:54] um I guess Roofing yep Japanese roof
[01:21:59] tiles I don't really want
[01:22:02] those uh slate slate roof that might be
[01:22:06] quite cool yeah sure let's go for
[01:22:11] slate uh so I'll just download it 2 by
[01:22:13] two meters uh keep that in mind as
[01:22:16] well I'll download
[01:22:21] it add
[01:22:23] It Go going here select one of the
[01:22:26] elements so that um I can clearly see
[01:22:30] where you know the same uh material
[01:22:34] objects are I'll holding down the shift
[01:22:36] key I'll select both uh
[01:22:39] rooftops uh through the outliner and
[01:22:42] I'll just slap on the Slate material on
[01:22:45] both of
[01:22:46] them take a look at that how does that
[01:22:52] look not that bad that it's actually
[01:22:56] quite fine I might want to increase the
[01:22:59] size of it but for now I'm going to keep
[01:23:01] it the way it is
[01:23:04] so those are the principles and I think
[01:23:08] at this point uh I will start doing uh
[01:23:13] um time lapse or no sorry um let's do
[01:23:17] one more thing uh let's do the glass
[01:23:20] material because we can't
[01:23:22] download uh the glass
[01:23:25] so I I will create a glass material and
[01:23:27] I show you I I will show you how to
[01:23:31] create a glass material all right but
[01:23:33] before we begin with the glass material
[01:23:36] we need to set up a few things with um
[01:23:39] within our model uh to or within our
[01:23:42] project and to do that we will need to
[01:23:45] use what's called um post process volume
[01:23:49] that can be created through quick
[01:23:51] quickly add to the project button here
[01:23:56] uh visual
[01:23:57] effects post process volume right here
[01:24:00] you click it this little box is created
[01:24:05] right and basically this box controls uh
[01:24:08] can has the potential to control every
[01:24:10] single setting in the scene and
[01:24:12] overwrite every single setting in the
[01:24:14] scene that you might have or in the
[01:24:17] level I should say
[01:24:20] so initially what happens is that only
[01:24:23] um with the effect that you
[01:24:28] override uh only takes place ins inside
[01:24:32] of this Cube inside of this box but if
[01:24:36] we select it and we go to details type
[01:24:38] in
[01:24:40] Unbound and we tick mark infinite extent
[01:24:44] Unbound now uh this uh changes that we
[01:24:47] make will affect the whole damn level so
[01:24:51] it's it doesn't have any boundaries
[01:24:53] anymore right
[01:24:54] so you can uh later we will use this to
[01:24:57] change the brightness and contrast of
[01:25:01] like different scenes and whatnot and uh
[01:25:04] we will kind of adjust the exposure
[01:25:05] values but for now what we care about
[01:25:08] the most is Ray
[01:25:11] tracing or sorry uh
[01:25:15] translucency yes translucency so you
[01:25:18] search for translucency uh translucency
[01:25:22] and you tick mark
[01:25:24] you put on all of these tick marks
[01:25:26] meaning that you want to overwrite all
[01:25:29] of these settings and then for high
[01:25:32] quality translucency you tick mark that
[01:25:35] include translucent objects in rracing
[01:25:38] Reflections you include that for
[01:25:40] transluc this is the most important one
[01:25:43] translucent C type instead of raster use
[01:25:46] rate tracing
[01:25:48] translucency so now all of your um
[01:25:54] like all all all of your
[01:25:58] traced rays will be calculated
[01:26:04] properly that's that's a weird way of
[01:26:06] saying it but yeah that that's that's
[01:26:07] how it goes uh everything else seems to
[01:26:10] be
[01:26:12] okay yep uh so we're going to stick to
[01:26:16] to the defaults there then as for let me
[01:26:19] just double check uh that's fine uh
[01:26:28] Reflections yeah that's fine okay uh for
[01:26:32] now we will uh we will stick to the
[01:26:33] settings that we
[01:26:35] have now now we can create a glass
[01:26:38] material so under materials Masters I
[01:26:40] will just right click and choose
[01:26:44] material again and create a Glass Master
[01:26:48] material double click that uh which
[01:26:51] opens up this menu that we all know at
[01:26:54] this point um and in this menu before we
[01:26:58] start plugging in the color and and
[01:27:00] whatnot I need to adjust a few settings
[01:27:03] here so the first setting to adjust is
[01:27:05] the blending mode that needs to change
[01:27:08] from opaque
[01:27:10] into
[01:27:12] translucent like
[01:27:14] that so blending mode translucent and
[01:27:18] then another one is lighting mode
[01:27:21] instead of um
[01:27:25] apologies in in instead of of of of
[01:27:28] volumetric non-directional we will
[01:27:30] change this to surface uh forward
[01:27:33] shading I'll not go too deep into detail
[01:27:36] with this uh just yeah use them I
[01:27:42] guess like that
[01:27:44] right blending mode
[01:27:46] translucent lighting mode surface
[01:27:49] forward shading now we get the opacity
[01:27:52] map as a possibility for kind of uh
[01:27:55] usage which is great uh so we're we're g
[01:27:57] to we're going to use it uh to introduce
[01:28:00] transparency but before we do that we
[01:28:03] need uh our base color metallic
[01:28:06] roughness um and that's it right uh
[01:28:09] these three inputs to be kind of added
[01:28:12] so first of all base color for base
[01:28:15] color I I prefer using uh
[01:28:19] constant three Vector you know the
[01:28:22] typical uh you double click on on it and
[01:28:25] let's just say that it's kind of very
[01:28:29] dark
[01:28:31] um bluish tint color something like that
[01:28:36] right and we use that as our base color
[01:28:40] uh if I remember correctly yeah this is
[01:28:42] still kind of bugged uh you can see that
[01:28:46] the color is all messed up and it's
[01:28:52] yeah yeah uh the the background the
[01:28:55] backdrop is uh all messy and all bad in
[01:28:59] Unreal Engine 5.1 as well as 5.2 I I'm
[01:29:03] not sure why that is but they haven't
[01:29:06] fixed it yet hopefully when you're
[01:29:08] seeing this you will see a proper
[01:29:10] preview of this anyway uh we have our
[01:29:15] base color now for metallic uh we just
[01:29:18] use a constant value of one that will
[01:29:21] never change it's always going to be
[01:29:23] metallic
[01:29:25] then for roughness uh we use a constant
[01:29:29] again value of
[01:29:32] constant value of
[01:29:37] 0.05 something like
[01:29:40] that should do the trick and then for
[01:29:44] opacity I think we can um yeah let's
[01:29:47] drag out let's create a constant again
[01:29:51] and the opacity is going to be like 0
[01:29:53] point 0 five again but um now we start
[01:29:58] playing with the variables right so we
[01:30:02] want this and the opacity the color and
[01:30:05] the opacity to be variables while the
[01:30:07] roughness and the metallic are not uh
[01:30:10] they will stay always the same value so
[01:30:13] I just right click on them convert to
[01:30:15] parameter I call this glass
[01:30:19] color and right click on this convert to
[01:30:21] a parameter call it uh glass
[01:30:26] opacity something like that um when you
[01:30:30] convert them to parameters but then
[01:30:33] after you click them you can select the
[01:30:35] slider minimum value so opacity minimum
[01:30:38] is zero opacity maximum is let's say one
[01:30:42] and for colors I don't need to change
[01:30:43] anything there okay let's save
[01:30:48] this wait for it
[01:30:50] to do the thing
[01:30:55] go back into your file and let's just
[01:30:59] create a quick instance of this Glass
[01:31:02] Master so right click on it create
[01:31:04] material instance call it glass just
[01:31:09] glass and let's slap it on let's say
[01:31:14] this object right
[01:31:17] here like
[01:31:19] that um actually yeah uh this is
[01:31:23] important so so notice how this glass or
[01:31:28] this this uh sorry the surface as I
[01:31:32] apply the glass material on it uh the
[01:31:35] light is going in while for this one
[01:31:38] it's not let me show you the reason why
[01:31:42] so here if I show you settings that are
[01:31:46] modified because I was already playing
[01:31:48] with this a little bit uh settings that
[01:31:50] have been modified under
[01:31:55] one
[01:31:56] second yeah under lighting cast Shadow
[01:32:00] is unticked while here
[01:32:05] under lighting well I can just search
[01:32:08] for cast
[01:32:10] Shadow is
[01:32:12] ticked right so for your transparent uh
[01:32:16] objects you kind of want to untick the
[01:32:19] cast Shadow option uh so that you
[01:32:24] it never that the glass never tries to
[01:32:26] cast a weird weird Shadow technically
[01:32:30] you could solve it by making the glass
[01:32:32] cast Shadow with r tracing and whatnot
[01:32:34] but as a beginner I would suggest just
[01:32:37] unticking cast Shadow for everything
[01:32:39] that is glass so what I'm going to do is
[01:32:42] in my glass like layer here I'll just
[01:32:45] select all of the BS or all of the
[01:32:47] objects that will have the glass
[01:32:49] material and I'll untick the cast shadow
[01:32:54] um tick mark from them right something
[01:32:58] like that and then also for all of them
[01:33:02] I will just apply the glass material
[01:33:06] like
[01:33:07] so so all of them are selected and I
[01:33:10] just drag and drop in the glass material
[01:33:13] and now we have glass going
[01:33:16] on inside of our our building this is
[01:33:21] starting to look okay not not not as bad
[01:33:25] as it did before
[01:33:27] right
[01:33:29] um we will be doing this a lot but right
[01:33:32] now I think is a good time to show you
[01:33:35] contrl L uh hitting control
[01:33:39] L and then moving the mouse oh sorry
[01:33:42] holding crl L and moving the
[01:33:45] mouse uh controls the light angle at
[01:33:50] which the light hits the
[01:33:55] you know the the the the scene the sun
[01:33:58] angle
[01:33:59] sorry so let's look at the Shadows the
[01:34:02] Shadows seem to be quite yeah that that
[01:34:05] seems fine that is believable uh we will
[01:34:08] increase the quality of the Shadows a
[01:34:10] little bit further but uh for now that
[01:34:12] that seems fine so we are done with the
[01:34:16] glass finally finally now I can uh jump
[01:34:20] to um time lapse and apply materials to
[01:34:24] everything here except the landscape so
[01:34:27] time lapse time I
[01:34:32] guess oh yeah so the time lapse died um
[01:34:36] crashed couldn't I can't uh get it back
[01:34:40] so here it is here's the textured uh
[01:34:44] building basically the process was
[01:34:47] exactly the same as what I've shown you
[01:34:49] right drag and drop drag and drop drag
[01:34:52] and drop download drag and drop um we
[01:34:56] have a little bit of wood flooring going
[01:34:59] on here a little bit of veneer for the
[01:35:02] wood here the planks are horizontal uh
[01:35:05] wooden planks the tiling here is
[01:35:08] obnoxious I'll need to fix that a little
[01:35:10] bit later and then once we step
[01:35:13] inside um this is go away oh
[01:35:18] whatever drop down there uh we have a
[01:35:23] little bit of a
[01:35:25] table a little bit of a chair
[01:35:30] here right and basically the a basic
[01:35:34] interior I didn't add any paintings yet
[01:35:38] and also this is super empty empty
[01:35:41] doesn't have a bunch of stuff going on
[01:35:44] but as
[01:35:48] uh which one is this oh yeah this is
[01:35:50] just the child room that's the bathtub
[01:35:54] I'll need to I didn't even add textures
[01:35:56] to the
[01:35:57] bathtub um so there's there's still
[01:36:00] plenty of of things to do but generally
[01:36:02] speaking I've kind of just slapped
[01:36:05] on uh as many materials as I could find
[01:36:10] quickly uh just to kind of move forward
[01:36:13] with the with the course right so uh
[01:36:16] there's going to be a
[01:36:18] polishing let's say step after after
[01:36:22] this now let's talk about assets adding
[01:36:26] assets because materials are already
[01:36:28] added so let's talk about trees rocks
[01:36:32] and whatnot adding those in to our scene
[01:36:35] how can you do that well we use um you
[01:36:40] should use Quick cell for rocks and
[01:36:43] whatnot all of the hard surface stuff
[01:36:46] but if you try to find trees in U in
[01:36:50] quick cell quick cell Bridge
[01:36:54] you will not have a good time finding
[01:36:57] them and that's because uh quick cell is
[01:36:59] a 3D scanning uh 3D scanned object
[01:37:02] library and they don't have
[01:37:05] trees um with that being said I think
[01:37:09] under
[01:37:12] vegetation there should
[01:37:15] be a few
[01:37:19] assets well there are a few assets under
[01:37:22] vegetation that you uh might want to uh
[01:37:27] look at such as grasses and so on and we
[01:37:31] will be using those but there are no uh
[01:37:35] trees unfortunately so let's begin with
[01:37:39] with the trees um I will go
[01:37:43] to my Unreal
[01:37:46] Engine um launcher or epic games
[01:37:49] launcher sorry epic games launcher and
[01:37:52] I'll open up my um Unreal Engine
[01:37:58] Marketplace that this is where you can
[01:38:00] get the the tree packs and so on like
[01:38:04] assets additional assets to download and
[01:38:08] I just type in
[01:38:11] threee um
[01:38:13] enter right you'll see that there's a
[01:38:16] bunch of like packs here uh that cost
[01:38:19] money
[01:38:21] and you don't need need to pay if you
[01:38:25] just click on the maximum price being
[01:38:28] free if you filter out all of the paid
[01:38:30] ones and now you can see that there is
[01:38:33] like meas scries European something
[01:38:37] European something blah blah blah
[01:38:39] there's there's a bunch uh and all you
[01:38:41] need to do to get it is just to add to
[01:38:45] card um check out well I'll show you add
[01:38:48] to
[01:38:51] card shopping bag it's now Z right you
[01:38:56] check
[01:38:57] out takes a little bit of time to to do
[01:39:00] so and then if you go to your library
[01:39:03] here Library tab you'll
[01:39:08] see I assume it's this one Mega scans
[01:39:11] trees European something
[01:39:14] something I also um I've already
[01:39:18] downloaded uh well long time ago
[01:39:20] actually an oak forest and I want my
[01:39:23] project to be in an oak forest but the
[01:39:25] principle is going to be the same
[01:39:26] actually let's see m a e Oak Forest is
[01:39:31] that um is that free I hope it's
[01:39:39] free stop lagging okay m a e
[01:39:47] Oak
[01:39:49] um
[01:39:51] um okay so let's not use this one um
[01:39:57] let's instead use the European one that
[01:40:00] everyone can download so meas countries
[01:40:02] European uh don't don't know the name
[01:40:06] European beach Early
[01:40:10] Access this seems fine you know uh a
[01:40:14] bunch
[01:40:18] of yeah a bunch of pretty clean trees so
[01:40:21] I will go back into Library
[01:40:23] and we are not going to use the Oak
[01:40:25] Forest unfortunately we will use the
[01:40:28] European beach I will click on add to
[01:40:30] project here you can see that uh my uh
[01:40:35] 5.2
[01:40:36] version um is not listed my my project
[01:40:40] is not listed so I'll click on show all
[01:40:43] projects and now here it is you YouTube
[01:40:46] course 5.2 as it not compatible with
[01:40:50] version 5.2 please select closest
[01:40:52] alternative version so I need to select
[01:40:54] 5.1 and then I click on add to project
[01:40:58] so now it's going to download 7.4 GB and
[01:41:02] after it's done then we will we will
[01:41:04] continue right and basically once it's
[01:41:07] done it will pop up straight up in my
[01:41:12] Unreal
[01:41:14] Engine uh folder right here uh under
[01:41:18] content there's going to be like
[01:41:21] a forgot the
[01:41:25] name European beach Forest thing there's
[01:41:28] going to be a folder that's going to be
[01:41:30] created for us uh while we're waiting
[01:41:33] for that to happen we can get some uh
[01:41:36] grass and some rocks in uh with quick
[01:41:39] cell Bridge so I'm just going to
[01:41:42] download a few grass pieces and whatnot
[01:41:45] that I find to be
[01:41:48] beautiful and oh that's nice
[01:41:54] and I'll just use those to populate the
[01:41:57] immediate
[01:41:59] surroundings
[01:42:03] um that's a little bit so
[01:42:08] so I really like this
[01:42:11] one lesser per perwinkle so I'll
[01:42:16] download
[01:42:17] it
[01:42:19] then Lily turf
[01:42:31] oh this one's very nice okay so let's
[01:42:34] use the matted PR
[01:42:37] here and I'll just let it download for a
[01:42:40] second okay so I finished downloading
[01:42:43] all of the assets and while I was doing
[01:42:47] that European beach
[01:42:51] uh Library uh has downloaded as well so
[01:42:56] now I can see it here in the in this
[01:42:59] folder and if I were to go back to my
[01:43:04] viewport here and just look at it
[01:43:07] apologies just look at the European
[01:43:10] beach expand that we have foliage and
[01:43:13] geometry um expand that we can see
[01:43:17] there's actually a bunch of different
[01:43:20] um uh trees here so one of them uh some
[01:43:24] of them are called uh static mesh
[01:43:26] foliage While others under geometry are
[01:43:28] just simply called Static mesh and if
[01:43:31] you want to add trees individually one
[01:43:34] by one you add them as static meshes
[01:43:38] drag and drop easy as that I say easy as
[01:43:43] that well it's actually now going to be
[01:43:46] please don't crash please don't crash
[01:43:48] come on I'm trying to record the video
[01:43:51] here it's being a little bit annoying
[01:43:55] either way uh while it's having a heart
[01:43:58] attack I can talk so European like all
[01:44:02] all of these uh trees that you see here
[01:44:04] under geometry they are um their own
[01:44:08] separate mesh entity that has
[01:44:11] also
[01:44:13] um how do you say the animation
[01:44:16] associated with them right so if I place
[01:44:20] this
[01:44:21] here okay see that it's
[01:44:24] slowly let's zoom
[01:44:28] in see that the leaves are
[01:44:31] slowly wobbling in the in in
[01:44:34] the not sky in the freaking
[01:44:38] wind and the same thing goes for simple
[01:44:42] wind if I apply the simple wind to do
[01:44:44] here is it really going to uh okay every
[01:44:48] single one of them is going to take a
[01:44:50] little bit of time that's fine um um
[01:44:54] these are static objects meaning that
[01:44:58] you would need to be PL would need to
[01:45:01] place them one by one we don't have the
[01:45:03] time to do that instead we will be using
[01:45:07] um foliage uh tool that is built into an
[01:45:11] real engine that lets you brush
[01:45:14] on the trees and bushes and then so on
[01:45:19] directly into your scene which is I mean
[01:45:23] those of you who work with D5 or twin
[01:45:26] motion are already familiar with that um
[01:45:29] kind of a
[01:45:31] workflow or even ends
[01:45:34] scape so like
[01:45:36] that this looks exactly the same as the
[01:45:40] previous
[01:45:41] one maybe it's wobbling a little bit
[01:45:44] more anyway I'm I'm going to delete the
[01:45:46] trees and I'm going to show you the
[01:45:49] foliage tool so instead of selection
[01:45:52] mode right here here we need to switch
[01:45:54] to What's called the foliage
[01:45:56] mode in the foliage mode you basically
[01:45:59] can paint on poage on top of the of any
[01:46:04] surface that you have in the scene right
[01:46:07] so uh first thing that I want to do is
[01:46:09] actually any foliage that you already
[01:46:13] see here let's just get rid of it let's
[01:46:15] remove it um let's do it you know
[01:46:18] meticulously one u tree at a time so I'm
[01:46:23] going to holding down the Shi shift key
[01:46:27] I will select all of these uh assets
[01:46:31] I'll right click and I'll choose to
[01:46:33] remove right and
[01:46:36] now it's like Taber right this empty
[01:46:40] empty empty tablet so under my European
[01:46:44] beach here under foliage I'll choose uh
[01:46:49] PIV pivot painter I guess I'm not not
[01:46:53] sure but I'll choose P pivot painter
[01:46:55] just maybe and I
[01:46:58] will uh just drag and drop in the first
[01:47:01] tree into the foliage list which does
[01:47:05] not
[01:47:06] work why oh there we go like that right
[01:47:11] so now if I were to let's try painting
[01:47:15] if I were to paint and I want to brush
[01:47:18] on this tree onto the landscape I would
[01:47:21] need to tick mark it
[01:47:23] like
[01:47:24] so choose the paint
[01:47:27] tool and just
[01:47:30] brush yikes
[01:47:32] that's that's
[01:47:34] very dense so you
[01:47:37] see
[01:47:40] right and that immediately kills my um
[01:47:43] frame rate uh drops it down right to 20
[01:47:47] frames per second so let's not do that I
[01:47:50] will choose the uh erase tool like so
[01:47:55] and I'll just erase
[01:47:57] them you can see how many trees were
[01:48:00] made U by by the count here so I'm just
[01:48:05] erasing them
[01:48:06] okay so something's off with the density
[01:48:10] clearly right so I'll choose the paint
[01:48:13] tool again and this time the paint
[01:48:16] density I probably would like to have
[01:48:19] less of it right or I could uh select
[01:48:23] the tree instead and not mess with the
[01:48:26] paint density here but select the tree
[01:48:28] and here I can say how many um trees do
[01:48:33] I want per um a particular area which is
[01:48:38] uh th000 by 1,000 CM 10 x 10 m right is
[01:48:44] it yes 10 x 10 m in this case it says
[01:48:48] 100 trees in 10 by 10 that's a lot of
[01:48:50] trees let's go for like
[01:48:53] two two
[01:48:56] trees draw it
[01:48:58] again still seems to be two DSE contrl Z
[01:49:03] to undo maybe uh one tree every 10
[01:49:09] m that's still pretty
[01:49:14] intense this is a huge tree by the way
[01:49:17] so just so you know so let's go for 0.2
[01:49:24] yep that that sounds about yeah that's
[01:49:27] much better okay so 0.2 maybe
[01:49:30] 0.1 so we control the density the radius
[01:49:33] is basically how um close
[01:49:37] each uh each tree needs to be next to
[01:49:40] another tree right so I can write well
[01:49:43] they need to be at least 10 m apart
[01:49:47] right so as I'm brushing
[01:49:50] on they're placed a way that they won't
[01:49:55] intersect right so then we have our
[01:50:00] scaling where uh we can say that it
[01:50:03] needs to uh what's the smallest size of
[01:50:06] this asset and what's the largest size
[01:50:08] of of this asset I can just say
[01:50:13] 0 five or 0.7 I guess
[01:50:18] 0.66 for smallest and 1.1 for
[01:50:23] largest now if I were to or wait does it
[01:50:27] proactively or no it doesn't scale the
[01:50:31] already existing assets so I need to
[01:50:33] brush in some more uh let's let's do it
[01:50:38] here some more trees you can see now
[01:50:41] some are bigger some are smaller right
[01:50:44] then we have um the the the maximum
[01:50:49] angle of the slope according to the
[01:50:51] ground don't mess with these These are
[01:50:53] fine these are okay and I think the last
[01:50:58] one needs to be rotation that I can't
[01:51:01] seem to
[01:51:04] see oh yeah it's random y okay so it's
[01:51:08] already um already rotating randomly
[01:51:13] right right is
[01:51:17] it yeah yeah it is it is it is
[01:51:20] okay cuz
[01:51:24] that Branch goes
[01:51:27] here and that is rotated yes it is
[01:51:30] rotating randomly okay good so we have
[01:51:33] one tree or rather now we have 15 trees
[01:51:35] right how do we add more well I'll just
[01:51:38] take all of
[01:51:40] these like that well maybe not the
[01:51:43] seedlings and I'll just drag and drop
[01:51:45] them in like so into foliage types so
[01:51:49] now we would be painting with
[01:51:53] um well right now we wouldn't be
[01:51:55] painting with all of them because only
[01:51:57] this one is sck marked so to tick mark
[01:52:01] the rest we would need to select all of
[01:52:03] them and press the tip button here
[01:52:07] right but the problem is now the density
[01:52:10] right it's still 100 um units
[01:52:14] per 10 m for each of the trees while
[01:52:18] here it's uh 0.1 right so what we want
[01:52:22] is we want a similar kind of behavior
[01:52:26] for the remaining trees right so I'm
[01:52:30] going to just
[01:52:31] select
[01:52:33] um all of them and say
[01:52:37] 0.1 in terms of density for all of them
[01:52:41] and the radius I think I mean this one
[01:52:44] is very big right so I think the radius
[01:52:48] for other ones needs to be smaller like
[01:52:52] like 4
[01:52:54] M so 4,000 wait is it 4,000 yes 400 400
[01:53:00] sorry not 4,000
[01:53:02] 400 and now I can start oh yeah and
[01:53:06] scale minimum uh 0.7 scale maximum
[01:53:12] 1.1 let's try it brush size I'll
[01:53:18] go 1,000
[01:53:20] M uh 1,000 mm
[01:53:23] sorry and we're just brushing on the
[01:53:29] forest no
[01:53:32] slowly building it
[01:53:42] up we don't want it to
[01:53:46] be uh two
[01:53:49] dance and now some of these trees are
[01:53:53] way too large so I'll need to uh need to
[01:53:57] see what's up with
[01:54:00] that but basically the the the view at
[01:54:03] least looks pretty pretty decent right
[01:54:07] so now we're we're starting to get a a
[01:54:09] few a few more interesting ones going on
[01:54:13] uh a few more interesting angles um
[01:54:16] going on right in terms of of the tree
[01:54:19] placement I still think that d it is a
[01:54:23] little bit too much so what I'm going to
[01:54:25] do is I'll select all of the trees and
[01:54:27] click on the remove button here so all
[01:54:31] remove and I'll try to brush them on
[01:54:34] again but this
[01:54:36] time which one is the big
[01:54:39] boy cuz there are okay let me untick
[01:54:43] them and just do them one by one to see
[01:54:46] which one of them
[01:54:48] is the big boy so that
[01:54:53] yeah that's pretty
[01:54:55] big that's pretty big okay all all of
[01:54:57] them are big
[01:55:00] boys uh okay that's
[01:55:03] fine uh which this tells me that the
[01:55:06] radius needs to be larger and the
[01:55:08] density needs to be lower cuz they're
[01:55:10] pretty damn
[01:55:12] big okay let's uh delete them so I can
[01:55:15] use the rer tool to just remove them uh
[01:55:18] tick mark all of all of them um and I'm
[01:55:22] just going to say scaling um minimum or
[01:55:26] rather let's reset and then minimum
[01:55:28] 0.5 actually and maximum uh 0.9 I want I
[01:55:33] don't want the for is that big right so
[01:55:37] I want to kind of tone it down a
[01:55:39] bit then in terms of the um density
[01:55:44] maybe
[01:55:45] 0.05 and in terms of the radius perhaps
[01:55:50] um
[01:55:52] 8,000 something like that or 800
[01:55:57] right something like
[01:55:59] that let's try brushing brushing it
[01:56:03] on it's not doing anything oh because we
[01:56:07] are with eraser tool let's go for paint
[01:56:10] or by the way you can always do um pill
[01:56:16] fill on top of Any Given surface and it
[01:56:21] just fills like
[01:56:23] that that might also be a way to go
[01:56:28] we're at 30 frames per second though
[01:56:32] which is not
[01:56:34] ideal uh let's see how our camera is the
[01:56:38] doing oh we don't have a camera never
[01:56:41] mind cinematic viewport how does that
[01:56:44] look
[01:56:50] like yeah 30 frames per second what
[01:56:53] about if we if we go indoors it's it
[01:56:57] immediately ramps up to
[01:57:00] 60 uh which is uh good news that
[01:57:04] means it's only the light calculation
[01:57:07] that is messing us up um how are we on
[01:57:11] the density I feel like the density is a
[01:57:15] still a little bit too too much so I'm
[01:57:18] going to select all
[01:57:22] oh sorry let's go back to default
[01:57:24] viewport select all trees remove and
[01:57:27] change the density to
[01:57:32] 0.04 and
[01:57:34] radius like let's do a
[01:57:37] th000 0.03
[01:57:41] maybe
[01:57:43] okay fill bam
[01:57:54] seems okay seems okay okay so that's how
[01:57:57] you add the large scale trees you know
[01:58:00] any individual trees that you want to
[01:58:03] continue adding you would need to do
[01:58:05] that well around here around these parts
[01:58:08] you would need to do that manually and
[01:58:11] well rather not manually but painted in
[01:58:16] like
[01:58:20] that I wonder if painting and fill our
[01:58:24] two different things let's see
[01:58:26] remove
[01:58:28] that zoom out get the paint tool brush
[01:58:32] size increase that to not that to like
[01:58:35] 4,000 not
[01:58:37] more paint it
[01:58:39] in yep so the density of the paint uh
[01:58:45] brush is apparently completely different
[01:58:50] from the density of
[01:58:55] uh the fill
[01:58:57] right that's good to
[01:59:00] know so
[01:59:03] 0.03 is too little 0.1 is too
[01:59:09] much
[01:59:12] 0.05 probably was the correct value to
[01:59:16] to
[01:59:17] use um I prefer painting in the trees
[01:59:21] rather
[01:59:22] than uh using the paint bucket tool uh
[01:59:26] to fill them
[01:59:28] in is that not
[01:59:32] registering 7 is that because of
[01:59:36] this 3
[01:59:38] m seems like it is all
[01:59:42] right so we just fill in fill
[01:59:47] in fill in all right for for now I'm I'm
[01:59:51] going to I'm I'm going to stop here and
[01:59:54] we're going to talk about
[01:59:56] the yeah that's this is a little bit
[01:59:59] better CU I can increase the density on
[02:00:01] the backdrop uh anytime I want right so
[02:00:04] this is a this is
[02:00:06] better um let's talk about adding
[02:00:11] the like Greenery like grass and whatnot
[02:00:15] right so for the foliage I can untick
[02:00:18] all of
[02:00:19] these I wonder if I can remove them what
[02:00:22] happens no I don't uh okay uh so I can't
[02:00:26] remove them but I can uh simply add more
[02:00:30] foliage so the foliage that I've
[02:00:32] downloaded from Mega
[02:00:34] scans uh 3D
[02:00:37] plans grass
[02:00:42] um uh let's let's try tall grass like
[02:00:45] this two right uh I have these static Ed
[02:00:50] uh static meshes and I have the foliage
[02:00:52] tab static mesh foliage so I'll just
[02:00:55] grab these three and drag and drop them
[02:00:58] in like so tick mark them
[02:01:02] oops try again poage type tick tick tick
[02:01:08] so these three are now tick marked like
[02:01:11] so uh which means I can draw with them
[02:01:14] right but I need di this to be
[02:01:18] smaller like that and I get get my uh
[02:01:23] Tall Grass going on here great so that's
[02:01:27] only one type of the Tall Grass I want
[02:01:30] more than one type so let's get Tall
[02:01:34] Grass number
[02:01:35] [Music]
[02:01:36] two static mesh foliage drag those in
[02:01:41] that's great uh then for 3D acids we
[02:01:45] have some mushrooms in
[02:01:47] here like
[02:01:49] that and there's more
[02:01:54] not sure why these are not loading in
[02:01:56] but hey I'm going to get
[02:01:59] them going to get them in then we have
[02:02:02] some Stones I'm just going to check for
[02:02:04] the size oh the size is pretty
[02:02:07] big might be fine though uh so I'm going
[02:02:10] to get the stone in here Mossy Rock
[02:02:15] let's check the
[02:02:16] size oh that's a small rock that's good
[02:02:20] and rock granite
[02:02:22] size that's fine get that then all right
[02:02:26] so now we have
[02:02:29] um where did they add those are tick
[02:02:32] marked those are not so I'm going
[02:02:35] to tick mark
[02:02:38] these and the trees are unticked that's
[02:02:41] good that means these are currently my
[02:02:44] active like brush oh my god um and I
[02:02:49] definitely need to fix the Rock
[02:02:51] situation that is way
[02:02:55] overboard so
[02:02:57] 0 uh 2 for
[02:03:02] rocks uh I believe the first one was the
[02:03:06] the big boy so
[02:03:08] 0.05 or that one let's try
[02:03:12] again yeah this seems much
[02:03:18] better um Al also notice how it's um
[02:03:22] you can see as I zoom out the geometry
[02:03:25] looks worse and as as I zoom in the
[02:03:27] geometry starts looking better that is
[02:03:30] just the optimization that
[02:03:32] the computer uh does for for me right uh
[02:03:39] so so that the graphics card does not
[02:03:41] crash uh this is normal so I will not be
[02:03:46] brushing these on just yet even though
[02:03:49] the density seems to be okay uh because
[02:03:52] I'll go back to selection mode I'll
[02:03:54] delete the rocks that I've placed here
[02:03:57] and I need to First decide on the camera
[02:04:01] angles right because the camera angles
[02:04:04] will
[02:04:05] determine
[02:04:07] um the den uh the high density placement
[02:04:11] of the assets so that our whole scene is
[02:04:15] not just over overdone and we're only
[02:04:19] placing Assets in the angles which we
[02:04:22] will be using for the rendering right
[02:04:26] this is the best way of how to optimize
[02:04:29] just model out or add geometry to places
[02:04:33] where you need it so next up camera
[02:04:41] control okay cameras so in terms of
[02:04:45] creating the camera before we begin we
[02:04:47] need to do one little thing and that is
[02:04:50] the glare control you can see now as I
[02:04:54] move my viewport camera which is not an
[02:04:57] actual actor in our scene when I move it
[02:05:00] around I get this kind of a quite
[02:05:02] intense glare effect on my uh on my
[02:05:07] screen and that especially especially
[02:05:11] becomes
[02:05:12] apparent if I'm in a quite a shaded view
[02:05:16] or not shaded view but like a shaded
[02:05:19] area um and I'm looking look
[02:05:22] at a bright area that kind of a bloom
[02:05:27] and glare becomes very obnoxious so I
[02:05:31] want to get rid of that the way you do
[02:05:33] it is with the postprocess volume
[02:05:36] remember the postprocess volume that
[02:05:38] we've created just recently right we're
[02:05:41] going back into it so you can
[02:05:45] either click the box here right that's
[02:05:49] our volume or you can find it in your
[02:05:51] outliner we click on it and here under
[02:05:55] Bloom I
[02:05:58] believe no
[02:06:00] under oh no okay fine let's search for
[02:06:05] it we're looking for lens
[02:06:08] flare
[02:06:10] flare here where it says lens flares I
[02:06:13] will tick mark the intensity option and
[02:06:17] I'll reduce them to I think like 10%
[02:06:22] maybe even less let's do
[02:06:27] 0.05 even with 0.05 that seems to be a
[02:06:31] little bit intense too intense maybe
[02:06:35] 0.03 something like that and then
[02:06:38] another thing would be glare or sorry
[02:06:44] Bloom um we will change both the method
[02:06:48] and the intensity the method will become
[02:06:50] convolution
[02:06:52] that is a more accurate method for the
[02:06:56] bloom uh I can probably a much easier
[02:06:59] way would be for me to find yeah there
[02:07:02] we go for instance this area right here
[02:07:05] uh this is with the standard
[02:07:10] Bloom non overwritten intensity and this
[02:07:13] is with convolution Bloom this is much
[02:07:16] more accurate and then I will reduce the
[02:07:19] intensity to something like
[02:07:23] 0.1 we still want the bloom we just
[02:07:26] don't want it to be that intense let's
[02:07:30] do contrl L and oops contrl L to rotate
[02:07:34] the
[02:07:36] light let's find an an angle
[02:07:40] that
[02:07:43] works something like
[02:07:47] that that seems to be kind of okay in
[02:07:51] terms of of the blue okay so with this
[02:07:55] fixed now we can go into the actual
[02:07:59] camera uh creation to create the camera
[02:08:03] you go into quickly add to the project
[02:08:06] button that we have here I believe you
[02:08:08] can also just add it through no no not
[02:08:11] through there actually only through this
[02:08:14] button we click that we go to cinematic
[02:08:17] and we add the C camera
[02:08:20] actor just like that bam the way you
[02:08:24] move the camera is well you can select
[02:08:27] your actor and uh by the way I have a
[02:08:29] folder here that says cameras that I
[02:08:32] have just created I will drag and drop
[02:08:35] my camera into my cameras folder just so
[02:08:38] that I have all of them in one place so
[02:08:41] to move it around you can just move it
[02:08:43] by XY z uh coordinates right you can
[02:08:47] also rotate it or you can pilot it and
[02:08:51] pilot is a much easier way of kind of
[02:08:53] navigating with the camera so I'm going
[02:08:55] to right click on the
[02:08:57] camera uh here not in the viewport but
[02:09:01] rather here I'll choose to Pilot C
[02:09:04] camera actor
[02:09:06] 2 like that and now I'm
[02:09:10] basically I'm able to
[02:09:13] Pilot you know the the camera to fly
[02:09:16] with the camera wherever I want once I'm
[02:09:18] happy with the positioning of the camera
[02:09:21] I will click either this button right
[02:09:23] here stop piloting or I believe I can
[02:09:26] right click here uh on the camera itself
[02:09:29] and choose to stop piloting right but
[02:09:31] for now I'm going to be in this view
[02:09:35] just trying
[02:09:37] out trying rather not out but trying to
[02:09:41] find an angle that would
[02:09:45] work maybe something like
[02:09:49] that why not okay
[02:09:51] now for the camera itself the settings
[02:09:54] are as per usual located under the
[02:09:57] details right so I'm going to uh just
[02:10:01] create
[02:10:03] um let's see if there's anything
[02:10:08] here n um we're not doing that so I'm
[02:10:12] I'm going to go only through the
[02:10:14] settings that I uh typically
[02:10:17] change uh first one being the film back
[02:10:21] so this is the width and the height of
[02:10:23] the sensor which gives you the aspect
[02:10:27] ratio if we were to look at the aspect
[02:10:30] ratios that are used in the cinema you
[02:10:32] can see that they vary between 1.85 to1
[02:10:35] and 2.39 to one depending on you know if
[02:10:39] it's a new movie or or an old movie and
[02:10:41] I believe like the yeah let's open up
[02:10:44] this chart right
[02:10:47] here there we
[02:10:49] go uh European theatrical showing
[02:10:53] standard aspect ratio for high
[02:10:55] definition video so that's YouTube um
[02:10:59] then we have
[02:11:01] 1960s uh
[02:11:03] showings Uh current anamorphic showings
[02:11:07] of widescreen Cinema and uh anything U
[02:11:12] else than this is kind of artistic so to
[02:11:15] say so um the the Cinematic lens so to
[02:11:20] say has the aspect ratio of 2.39 by 1
[02:11:25] that's what we're getting from this
[02:11:26] particular diagram and you know uh if we
[02:11:30] were looking
[02:11:32] at any diagram here you can see that
[02:11:36] cinemascope is always 2.35 or 2.39
[02:11:40] depending on which
[02:11:43] um which diagram you refer to uh let's
[02:11:47] go for for
[02:11:49] 2.39 so I'll go go back to Unreal and
[02:11:53] here for my sensor width I will say it's
[02:11:56] it's going to be
[02:11:58] 20 uh
[02:12:00] 3.9
[02:12:01] mm while the sensor height is going to
[02:12:05] be 10
[02:12:08] mm this gives me the proportion you can
[02:12:11] see of a cinematic camera lens that's
[02:12:15] exactly what I want um besides that I
[02:12:19] don't really need to change anything
[02:12:21] here in terms of the film back so I'm
[02:12:22] going to minimize it as for lens
[02:12:26] settings we have the possibility to zoom
[02:12:28] in zoom out with the minimum focal
[02:12:30] length and maximum focal length I will
[02:12:33] not be uh working with these neither
[02:12:36] with the minimum of stop maximum of stop
[02:12:38] I will be uh keeping these the way they
[02:12:40] are because these are you know within
[02:12:43] the industry standard so that's that's
[02:12:45] fine don't need to um do anything with
[02:12:49] it and diagram diap rag blade count uh
[02:12:53] that's an uh seven so it's uh all of the
[02:12:58] bouquet
[02:12:59] effects uh where's where's our sunlight
[02:13:02] let's find our sun hello Sun
[02:13:06] Sun where is the
[02:13:10] Sun God damn it now now when I need it
[02:13:14] can't find can't find the lens glare
[02:13:17] lens flare
[02:13:18] sorry let's try so something like that
[02:13:24] oops I give up okay it doesn't matter um
[02:13:29] basically the little glares that you get
[02:13:32] like sun bunnies as we call them that
[02:13:35] you get if your diaphragm is uh blade
[02:13:37] County seven then it's going to be a
[02:13:39] heptagon if it's eight it's going to be
[02:13:41] an octagon if it's four it's going to be
[02:13:43] a square right or rombus shape uh
[02:13:47] typically um it's either seven or eight
[02:13:49] you know in a standard
[02:13:53] camera okay so for lens settings don't
[02:13:55] really need to change anything here
[02:13:58] um yep for Focus
[02:14:02] settings um we need to
[02:14:08] um manually focus in the camera on a
[02:14:12] specific distance and in this case the
[02:14:15] distance should be the building but
[02:14:18] before we focus in I will uh first first
[02:14:21] change the crop settings right so first
[02:14:25] of all crop settings no crop but current
[02:14:28] focal the crop settings don't have crop
[02:14:30] I'm sorry I'm just reading words I meant
[02:14:33] to say current focal length that is the
[02:14:35] thing that we're going to be changing so
[02:14:37] the focal length in a
[02:14:39] camera is um
[02:14:44] how much of a zoom do you get just from
[02:14:48] the glass of the lens right right so
[02:14:51] focal
[02:14:54] length uh can we get a
[02:15:01] comparison focal length comparison there
[02:15:04] we go 18
[02:15:05] mm 18 mm up
[02:15:09] [Music]
[02:15:11] to where is where is that good picture
[02:15:16] or di
[02:15:17] diagram H there it is 18 mm up to 300
[02:15:23] mm it's the same position of the camera
[02:15:27] except the focal length is different so
[02:15:29] it's initially a zoom right but not just
[02:15:33] a zoom it's also it also creates an more
[02:15:36] and more of an orthographic projection
[02:15:39] so if you look at uh for instance
[02:15:43] um yeah I think this is a good example
[02:15:46] um a 20 mm lens and a 200 m mirror
[02:15:52] lens the difference between you know
[02:15:55] that the same photo is night and day
[02:15:57] same thing here 24 mm lens and 85 mm
[02:16:02] lens you can see what else is happening
[02:16:05] with this is the backdrop the backdrop
[02:16:08] becomes much more apparent in the scene
[02:16:11] so if we look at 17 mm lens here with
[02:16:14] the backdrop and 300 mm lens here this
[02:16:18] is much more not necessarily flat FL but
[02:16:21] everything exists exists in a much
[02:16:25] tighter
[02:16:27] plane same thing here right so that's
[02:16:31] what we're after we're after this kind
[02:16:33] of a uh well maybe not 170 Mill lens but
[02:16:37] a pretty high number if we look at uh
[02:16:40] the focal length of the camera in here
[02:16:44] it's 35 mil which is you know it's it's
[02:16:47] fine it's like Universal Universal
[02:16:50] camera
[02:16:51] um focal length but actually for ex an
[02:16:54] exterior shot what we're after is
[02:16:56] something higher than 70 I'm going to go
[02:17:00] for 90 because that's a number that I
[02:17:02] like 90 mm you can see how much zoomed
[02:17:06] in uh my shot gets so I do need to um
[02:17:11] head out zoom out with the camera and
[02:17:16] actually oh God damn it yeah I I do need
[02:17:19] to zoom out the camera to actually
[02:17:22] reframe the view now there is a problem
[02:17:26] it's it's called trees trees are in the
[02:17:28] way so how do I solve this well first of
[02:17:31] all I need to get a few viewports in
[02:17:34] here not just one I will change the top
[02:17:38] uh that's back uh that's the top
[02:17:41] viewport I'll change the top viewport to
[02:17:44] be lit rather than unlit
[02:17:51] that doesn't really feel lit now does
[02:17:54] it doesn't matter um this viewport and I
[02:17:58] will change my mode instead of selection
[02:18:01] mode I will go for
[02:18:04] foliage right foliage mode now with this
[02:18:08] mode done I know that my camera is
[02:18:10] located um right here well somewhere
[02:18:15] here so I need to get rid of it uh not
[02:18:18] of the camera but of the foliage in
[02:18:20] front of the camera so I'm just going to
[02:18:21] click on the Eraser tool and just going
[02:18:24] to start erasing which does not
[02:18:27] work H is it
[02:18:32] another it's another problem isn't it
[02:18:35] yeah that's fine that's fine uh another
[02:18:37] bug we just uh instead of uh doing it in
[02:18:41] the top view we will go and stop
[02:18:44] piloting the camera by clicking this
[02:18:46] icon right here just for a second
[02:18:51] I
[02:18:53] will zoom zoom
[02:18:57] zoom right here and I'll just
[02:19:01] erase the trees from that particular
[02:19:06] angle I can't see the camera though I
[02:19:10] believe I am
[02:19:13] erasing the trees wrong okay let's undo
[02:19:17] that apologies for
[02:19:23] for for
[02:19:25] apologies for for for
[02:19:25] uh taking so
[02:19:30] long um instead I'm going to go to
[02:19:33] selection let's select the camera F to
[02:19:38] focus in okay so the camera is actually
[02:19:42] located right here so I need to get rid
[02:19:45] of all of these trees up until the the
[02:19:49] building good
[02:19:51] I was lost there for a second foliage
[02:19:55] um
[02:19:56] rase and perhaps as much smaller uh
[02:20:01] 256 eraser and we just break away the
[02:20:07] path just like
[02:20:13] that you can see how far away the camera
[02:20:16] needs to be from the building to
[02:20:19] actually catch
[02:20:21] uh the
[02:20:22] full um full focus with a 90 mm lens
[02:20:27] once that's done I come back to
[02:20:29] selection I click on the camera I take a
[02:20:31] look that seems fine that seems a okay
[02:20:35] one one more thing to note is this pin
[02:20:38] preview button right here with this I
[02:20:41] can pin the preview and then if I go
[02:20:43] back to foliage mode I can actually
[02:20:46] paint in the foliage
[02:20:53] like
[02:20:56] that and be very very specific
[02:21:00] about uh which which trees uh you know I
[02:21:04] I I want to I want to remove so for
[02:21:09] instance uh let's erase again I assume
[02:21:13] it's going to be nope it's not them is
[02:21:16] it this yes was this tree and it's going
[02:21:20] to be
[02:21:22] probably not that not
[02:21:25] that oh
[02:21:28] no is it really this
[02:21:34] no oh my God come
[02:21:38] on oh there we go it was that that tree
[02:21:41] right there so it's a lot of uh you know
[02:21:47] soft soft brushing until until you
[02:21:52] get you know a nice nice look okay let's
[02:21:58] um finish up with this camera I think
[02:22:01] the angle is almost there I think it's
[02:22:03] good so I'll go back to selection I'll
[02:22:07] right click select the
[02:22:09] camera uh pilot Cinema Camera
[02:22:14] actor uh let's take a quick
[02:22:19] gander something like that
[02:22:27] maybe yep now I'm just uh rotating uh
[02:22:31] the camera by by 0000 0 and just trying
[02:22:35] to find like the that coordinate you
[02:22:38] know that final kind of coordinate that
[02:22:40] would look really good from a specific
[02:22:47] angle something like
[02:22:51] definitely not that something like
[02:22:54] so okay so we have a little bit of a
[02:22:59] look going on for us here now I'm going
[02:23:02] to um click here oh Escape out sorry uh
[02:23:07] oh we are in selection mode so contrl L
[02:23:09] should work but it doesn't seem like it
[02:23:11] does so I'm going to stop piloting the
[02:23:14] camera I'll click on the
[02:23:16] camera and lock it in place
[02:23:21] my uh hard disk got full with the with
[02:23:25] the video recording so it cut off yet
[02:23:28] again um where were we oh yeah uh the
[02:23:32] the camera right the the camera angle a
[02:23:35] yikes uh the video memory is still uh
[02:23:39] being hammered quite heavily but uh
[02:23:42] should be fine should be should be fine
[02:23:45] so let me go back in here Cinema Camera
[02:23:48] actor uh pilot this Cinema Camera actor
[02:23:51] now we're looking through it and let's
[02:23:54] see more stuff that we can do current
[02:23:58] appature uh as a setting is how much
[02:24:01] blurring will happen in your scene so if
[02:24:06] you change this to 1.2 the lower number
[02:24:09] the more blurry things get and you can
[02:24:12] see the flickering starts happening we
[02:24:14] will be fixing these flickers um in just
[02:24:17] a second or not a second but later down
[02:24:20] in the video but basically lower number
[02:24:23] equals more blurring higher number
[02:24:26] though equals sharper right so 22 is the
[02:24:31] highest let me um usually I use 1.6 as
[02:24:36] as my go-to aperture because that's it
[02:24:39] feels to me like a pretty decent U
[02:24:42] amount of blurring that's happening now
[02:24:45] we can go back to focus settings and
[02:24:47] actually look at how um this whole thing
[02:24:52] looks so draw or rather how this whole
[02:24:56] thing focuses and how does the camera
[02:24:59] focus on our subject in this case we see
[02:25:02] that it really really doesn't so let me
[02:25:06] say that the focus method is manual we
[02:25:08] are focusing in manually up to a certain
[02:25:11] distance manual focus distance I will
[02:25:15] sample the depth from scene so I'll
[02:25:17] click on this uh little pipet tool
[02:25:20] and click on the facade and now we're
[02:25:23] focusing in onto the
[02:25:26] facade right and if you also want to
[02:25:30] draw uh you can draw a debug plane which
[02:25:33] basically shows you the you know the
[02:25:36] distance at which you are focusing into
[02:25:40] into things so you can focus in into
[02:25:43] this Branch let me not draw the plane so
[02:25:45] this branch is in Focus while everything
[02:25:48] else is being blurred out
[02:25:50] that's not what we want though so we're
[02:25:52] focusing on
[02:25:54] that uh Focus smoothing interpolation
[02:25:56] speed Focus offset we don't really uh
[02:25:59] care about those things right now so I'm
[02:26:01] not going to be looking at them okay
[02:26:05] what else is there um crop settings no
[02:26:09] current horizontal field of view that's
[02:26:11] fine no uh yeah uh custom near clipping
[02:26:15] play uh sometimes you want to clip away
[02:26:19] you know a branch of sorts or some sort
[02:26:22] of a stick that's um in the way you can
[02:26:25] use that with a custom clipping plane
[02:26:29] right right now I'm I'm going very
[02:26:32] drastic with it uh 63 m in front of my
[02:26:36] camera but you get what I mean right you
[02:26:39] can clip with this clipping
[02:26:44] plane actually can be used to make
[02:26:46] sections
[02:26:47] right uh don't don't don't that though
[02:26:50] don't
[02:26:52] know okay constraint aspect ratio means
[02:26:55] that it's going to show you the actual
[02:26:58] aspect ratio of the camera rather than
[02:27:00] the aspect ratio of the um full viewport
[02:27:06] uh that's fine and everything else seems
[02:27:09] to be okay cameras uh that's fine post
[02:27:13] processing lens
[02:27:15] effects um here you can start changing
[02:27:20] the exposure of this particular camera
[02:27:23] right so let's let's take a look at po
[02:27:26] post sorry post processing under
[02:27:29] postprocess under
[02:27:32] lens um under
[02:27:36] Bloom you can override the bloom back to
[02:27:40] standard but remember that we have a
[02:27:42] postprocess volume that's already fixing
[02:27:44] the bloom so we don't need to worry
[02:27:47] about it what we do need to worry about
[02:27:49] is is the exposure control in this case
[02:27:53] our
[02:27:54] exposure well
[02:27:56] sucks it's it's bad um this needs to be
[02:28:00] much darker and I'm not really sure what
[02:28:03] it's exposing for so uh I'm going to
[02:28:06] check metering mode to manual exposure
[02:28:11] it becomes dark that's fine exposure
[02:28:14] compensation I'll check checkbox that
[02:28:17] and I'll increase it up to let's go for
[02:28:22] five uh let's not go for five let's go
[02:28:24] for like
[02:28:27] seven
[02:28:30] eight
[02:28:32] H 10 not 10 n yeah uh something like
[02:28:38] nine and now you know our exposure is a
[02:28:41] little bit closer to to reality right of
[02:28:45] how this
[02:28:46] would be normally
[02:28:49] exposed one thing that I want to and
[02:28:52] also we can change this to cinematic
[02:28:55] viewport and go back to piloting our
[02:29:02] camera now I can't pilot my camera I
[02:29:04] forgot that I need to switch to
[02:29:07] Here There we go so now we're in
[02:29:10] cinematic viewport with the correct
[02:29:12] exposure yeah everything seems fine I'll
[02:29:15] switch back to default
[02:29:17] viewport should be a okay
[02:29:20] okay the only difference between
[02:29:22] cinematic and non-cinematic is that
[02:29:24] cinematic uh does not show the icons you
[02:29:28] know this these rectangles and
[02:29:34] whatnot
[02:29:37] um there we go okay so in terms of
[02:29:40] exposure what I want to do is I'll
[02:29:43] actually stop piloting the camera and
[02:29:45] I'll zoom in to my building right here I
[02:29:50] want to create three spheres or four
[02:29:53] spheres rather and this comes again from
[02:29:56] the same William Guy Link in the video
[02:29:57] description who does really amazing
[02:30:00] stuff with the lighting um so I'm going
[02:30:02] to
[02:30:03] create
[02:30:05] um sphere where is
[02:30:08] it shapes sphere I'm going to create a
[02:30:12] sphere and I'm going to make three more
[02:30:17] of these so I will just hold or rather
[02:30:21] let me first scale it down to well how
[02:30:26] big is it
[02:30:29] actually first I need to know how big it
[02:30:33] is to know how by how much do I need to
[02:30:36] scale
[02:30:39] it f to zoom in actually the size of it
[02:30:42] is fine so sphere number one holding the
[02:30:46] old key I'll copy it up
[02:30:50] Spar number
[02:30:52] two holding the ALT key up
[02:30:56] three up uh didn't copy for some
[02:31:01] reason up four okay great we have four
[02:31:06] spheres each of them can be um they all
[02:31:10] rather can be scaled down or scaled up
[02:31:13] as as you want but I'll keep them um the
[02:31:17] way they are later I'll show you how to
[02:31:19] to make them into one uh
[02:31:23] object but for now four different
[02:31:27] spheres I'll go back to my or not back
[02:31:30] but I'll go to my materials tab or
[02:31:34] folder and I'll apply black material to
[02:31:37] the bottom
[02:31:38] sphere I'll apply uh mid gray material
[02:31:41] to the middle
[02:31:43] sphere white material to the top sphere
[02:31:46] and reflection material to
[02:31:50] the top top sphere toppest of the
[02:31:54] Spheres then I will go back to my cinema
[02:31:57] C cinematic
[02:31:59] camera I'll take a look if um you know
[02:32:03] my white material actually looks white
[02:32:06] if my dark material looks dark right so
[02:32:10] you can always balance the exposure
[02:32:12] according to these uh four spheres they
[02:32:17] be they come very become very
[02:32:21] handy right so I'll just place them
[02:32:24] here so now back in my camera
[02:32:31] settings I can see that uh this
[02:32:35] needs come
[02:32:38] on this is
[02:32:40] almost well exposed I would say um the
[02:32:46] shadow of the black sphere is completely
[02:32:50] black the highlight of the white sphere
[02:32:54] is almost completely white so the
[02:32:57] exposure of this is correct um the only
[02:33:01] thing for me is the contrast it feels
[02:33:05] like the contrast is a little bit off
[02:33:08] but that might be uh I might
[02:33:11] be it might be subjective right uh let's
[02:33:15] see how this would look like with eight
[02:33:20] this becomes too gray uh this is not
[02:33:25] exposed well this becomes a little bit
[02:33:29] too dark so 8.5
[02:33:34] perhaps maybe what if it's 10 if it's 10
[02:33:38] then black becomes Overexposed so it is
[02:33:41] indeed nine okay I actually caught it uh
[02:33:44] quite well I'm happy with
[02:33:46] this and then for um our our um where
[02:33:52] was
[02:33:58] it one
[02:34:01] second for our camera control you can
[02:34:04] also change the like the shutter speed
[02:34:07] ISO and aperture like you can also
[02:34:10] change um these settings right here to
[02:34:13] get a better understanding of you know
[02:34:17] or better control o of the brightness
[02:34:20] and contrast but instead we're using
[02:34:22] exposure compensation uh right here so
[02:34:25] uh we don't really need I believe to
[02:34:28] work with the camera settings as they
[02:34:31] are here the local exposure I've never
[02:34:34] uh
[02:34:36] actually used so I'm not sure how that
[02:34:40] works lens flares uh we already talked
[02:34:43] about lens flares you know the intensity
[02:34:45] and whatnot uh we can increase them we
[02:34:48] can decrease them that's really matter
[02:34:50] we don't need them and image effects uh
[02:34:53] there is the vignette effect that I
[02:34:55] always suggest everyone use the vignette
[02:34:59] effect uh let me increase the uh size of
[02:35:02] it or intensity of it that's the darking
[02:35:06] on the edges of the camera right of of
[02:35:09] the lens because the less light goes in
[02:35:12] through the edges so I'm um I never
[02:35:15] suggest using like one for vignette
[02:35:18] effect but something like Z 0.3 or
[02:35:21] 0.2 um just gives that
[02:35:26] additional wait is
[02:35:30] it oh sorry is
[02:35:34] 0.5 yeah yeah cuz default is
[02:35:37] 0.4 uh gives that additional U focus on
[02:35:41] the center of the screen dep of field
[02:35:45] that's exactly what uh you're getting
[02:35:48] with the uh
[02:35:50] with the blurring you don't really want
[02:35:52] to override anything with the depth of
[02:35:54] field then we have the color grading
[02:35:56] where you can change the
[02:35:58] temperature uh of your camera so you can
[02:36:02] make it warmer you can make it colder
[02:36:05] you know what whatever you want you can
[02:36:08] also tint it towards pink or towards
[02:36:10] green for now I will not be changing
[02:36:13] anything here that is going to be the
[02:36:16] last things uh that I do you can also
[02:36:19] play around with the Shadows you can
[02:36:20] increase their
[02:36:26] um well that's the saturation no uh not
[02:36:30] the saturation I'm sorry the contrast
[02:36:32] within the Shadows uh so you can make
[02:36:36] make it more aggressive or you can make
[02:36:40] it blown out
[02:36:42] right for now we're not going to be uh
[02:36:46] doing anything with them
[02:36:50] let me reset those little arrows that
[02:36:53] I'm pressing on the right hand side
[02:36:54] corner that's the
[02:36:57] reset
[02:36:59] umal elimination Lumen that's correct
[02:37:03] sorry I'm just going through the
[02:37:05] settings
[02:37:20] now those are
[02:37:24] fine
[02:37:26] okay we don't need GI uh well this kind
[02:37:30] of GI just now uh there's going to be a
[02:37:33] separate uh portion of the scores
[02:37:36] covering Global elimination and all of
[02:37:38] the different settings that you can have
[02:37:40] with
[02:37:41] it okay so in terms of the camera that's
[02:37:44] the most that we can um control uh or uh
[02:37:48] we can of course control much more but
[02:37:51] you shouldn't in my opinion as as you're
[02:37:54] starting off this is uh sufficient right
[02:37:58] so now I'm just going to really quickly
[02:38:00] show you how to set up a second camera I
[02:38:04] honestly really suggest just taking the
[02:38:06] originally like camera that already
[02:38:09] works and just making a copy of
[02:38:12] it making a copy of
[02:38:16] it come on
[02:38:21] is camera two yeah camera 2 is still
[02:38:24] there I just don't see
[02:38:26] it uh and then with the new camera uh I
[02:38:30] will pilot it so perspective camera
[02:38:34] 3 I'll pilot it trying to get it
[02:38:41] into some sort of a
[02:38:44] different different View
[02:38:49] um perhaps 70 mm for this
[02:39:09] one
[02:39:11] H maybe something like
[02:39:15] that would work
[02:39:23] again
[02:39:26] the the trees are in the way so I'm
[02:39:29] going to
[02:39:30] pin uh
[02:39:33] the the camera view I'll go to my
[02:39:36] foliage editing tool I'll choose to
[02:39:40] erase and I'll just uh make sure that I
[02:39:44] get rid of
[02:39:48] the frees that are a little bit in the
[02:39:54] way do I like that I I I'll remove it
[02:39:57] for now I'll I'll bring it back in a
[02:40:00] little bit
[02:40:01] later okay back in my selection mode uh
[02:40:05] I unpin this and I pilot
[02:40:08] the camera
[02:40:11] 3 to find like a nice nice
[02:40:17] angle yeah I think something like like
[02:40:21] that sounds or or looks looks fine fine
[02:40:25] to
[02:40:26] me maybe a
[02:40:28] bit bit more something like this and
[02:40:31] then in terms of the settings uh let's
[02:40:35] see
[02:40:37] 1.6 uh where's our focus focus settings
[02:40:41] uh where are we focusing on okay we're
[02:40:44] kind of focusing on the same distance
[02:40:46] right so it's uh this area is in Focus I
[02:40:51] think that's fine uh we can go for like
[02:40:53] a back window right there uh so it's
[02:40:57] more focused in that area or
[02:41:00] perhaps right here and then I take that
[02:41:04] okay we have two cameras for the
[02:41:08] exterior then let's do two cameras for
[02:41:11] the interior and finish up with this
[02:41:14] chapter so again I'm just going to
[02:41:18] really quickly
[02:41:19] make a copy of this
[02:41:22] camera move it I'm just going to move it
[02:41:26] inside of
[02:41:28] my
[02:41:31] building
[02:41:34] whoop something like
[02:41:38] that made a mistake pressed something
[02:41:41] shouldn't press things
[02:41:46] accidentally try again Focus there we go
[02:41:50] we're on the roof for some
[02:41:54] reason and here we are inside of the
[02:41:58] inside of the building so now I'm going
[02:42:01] to start piloting
[02:42:04] it oh yeah uh I need to do it through
[02:42:07] here because it's bugging out and you
[02:42:09] can see that there's no way that I'm
[02:42:12] I'll be able to
[02:42:15] properly
[02:42:17] um have like a proper camera angle in
[02:42:20] the interior with a 70 mm lens so I need
[02:42:25] to switch this you know pull pull this
[02:42:28] down to something closer to like 50
[02:42:30] maybe even less let's go
[02:42:32] for um 35 mil something like that and of
[02:42:37] course the right now the the
[02:42:43] the look of this is way too too to too
[02:42:49] dark uh so I'm going to uh go into into
[02:42:55] into
[02:43:02] exposure not there lens settings not
[02:43:07] there Focus settings not there crop
[02:43:10] settings oh my
[02:43:11] God where is it lens exposure there we
[02:43:15] go postprocess or sorry not even
[02:43:18] postprocess
[02:43:22] sorry yes postprocess postprocess lens
[02:43:25] exposure manual instead of nine we do
[02:43:28] like
[02:43:30] 11 something like that yeah 11 seems to
[02:43:33] be uh seems to be quite good actually uh
[02:43:37] perhaps even
[02:43:38] more um 35 mil seems to be still too
[02:43:43] narrow so I'll
[02:43:46] do 28
[02:43:50] something like that I'll take the
[02:43:56] Spheres and move them
[02:44:01] in and move them in I said oh my God uh
[02:44:07] come on please please
[02:44:13] Spears there we go and they're now way
[02:44:16] too big so I need to make them small
[02:44:19] smaller
[02:44:20] 0.5 and each of them I'll just move it
[02:44:26] down move it
[02:44:32] down so you now can see
[02:44:36] down move it down so you now can see
[02:44:36] that definitely in this at this camera
[02:44:45] angle compositionally speaking this is
[02:44:48] fine the camera angle is not that bad um
[02:44:53] but practically speaking it's too dark
[02:44:57] right or or speaking of light it's too
[02:45:01] dark also I'm moving way too fast so
[02:45:04] I'll decrease the movement speed a
[02:45:09] bit we're still piloting the camera
[02:45:14] right okay so that seems to be okay
[02:45:19] okay let's like take a look at
[02:45:23] this minus uh
[02:45:27] 270
[02:45:29] mhm and last uh last adjustments I
[02:45:32] always
[02:45:33] do with uh XY Z positions rather than
[02:45:37] the piloting
[02:45:41] movement something
[02:45:45] like
[02:45:47] so okay
[02:45:50] now in terms of the light I think there
[02:45:53] needs to be like 13 oh no not 13 12 uh
[02:45:59] perhaps
[02:46:02] 11.5 yeah something like that 11.5 the
[02:46:05] white is uh not exposed properly but I
[02:46:11] don't want to lose too much information
[02:46:13] in terms
[02:46:15] of um here maybe 12
[02:46:19] something like
[02:46:20] that uh should should be good uh
[02:46:24] increasing contrast will uh help with
[02:46:26] the
[02:46:27] exposure
[02:46:30] right all right so that's our uh fourth
[02:46:36] well not fourth camera but uh camera
[02:46:38] number four and then we have one more
[02:46:42] left I'll just make a copy of this by
[02:46:44] the way you can just make a copy of it I
[02:46:46] believe just contrl c contrl v
[02:46:49] copy
[02:46:50] pasting and then piloting
[02:46:57] the camera five to find a
[02:47:02] new new
[02:47:07] placement uh that's
[02:47:12] the that's that that's the hallway
[02:47:15] actually that's a pretty
[02:47:17] cool area area right there I kind of
[02:47:21] want
[02:47:22] to is it weird to just render one
[02:47:28] room what's in the what's in
[02:47:32] here here we have the entrance oh no
[02:47:36] that's not the entrance that's the
[02:47:39] children or or the master bedroom
[02:47:42] perhaps we can render the master bedroom
[02:47:44] as well okay so for the master bedroom
[02:47:47] my exposure compensation is to be even
[02:47:49] more even higher uh probably around uh
[02:47:54] 24 oh definitely not 24
[02:48:00] 16 yeah something around 16 and you can
[02:48:03] see that uh with that amount of exposure
[02:48:07] compensation uh this is starting to
[02:48:09] become really weird and really awkward
[02:48:13] and we'll we'll talk about why that is
[02:48:15] in just a second I purposely
[02:48:19] made it so that it's um that it becomes
[02:48:22] uh quite quite a mess right in terms of
[02:48:25] of the
[02:48:26] light uh let me uh really quickly find
[02:48:30] the composition for this so that we can
[02:48:32] talk about important things uh in terms
[02:48:35] of exposure that's fine in terms of the
[02:48:39] focal length I'll go for 18
[02:48:43] mm something like that
[02:48:56] something like so and then to focus
[02:49:06] in maybe something like that um last
[02:49:11] last little
[02:49:15] bits camera nope camera options nope
[02:49:19] Advanced
[02:49:20] nope where is
[02:49:23] it aperture focal length Focus settings
[02:49:26] there we go Focus settings uh here I
[02:49:29] just Define the focus distance onto this
[02:49:34] lamp so we're focusing in on the lamp
[02:49:37] all right so the issue with this is that
[02:49:40] it receives the light from indirect
[02:49:43] elimination only and for that we need to
[02:49:46] create uh artificial lighting
[02:49:49] lighting that uh can uh help us
[02:49:54] with well that that that can push uh a
[02:49:58] little bit more indirect light into our
[02:50:01] scene and to do that uh we will need to
[02:50:05] uh I will need you to guide you through
[02:50:08] light Creation in Unreal Engine that is
[02:50:12] going to be our next
[02:50:17] chapter all right right so let's talk
[02:50:20] about light light and Shadow actually
[02:50:22] because those come you know come hand in
[02:50:25] hand so to say um when creating lights
[02:50:28] in un real engine uh you need to
[02:50:31] understand that there are two types of
[02:50:33] um or rather maybe three types of lights
[02:50:36] that you can make one is material based
[02:50:40] lighting meaning emissive material type
[02:50:43] I will cover that in just a little bit
[02:50:46] second one is actual light sources such
[02:50:49] as Point light rectangular light
[02:50:51] directional light and so on and third
[02:50:54] one is
[02:50:55] hdri uh lighting meaning an image that
[02:50:59] is wrapping around your scene and
[02:51:01] producing light from uh basically all
[02:51:04] angle so the image itself is producing
[02:51:06] light in our case um for this Interior
[02:51:10] right here we will be creating um just a
[02:51:15] light source um to begin with so I'm
[02:51:18] going to
[02:51:19] go in here choose
[02:51:21] lights and choose well not directional
[02:51:24] light because we already have that
[02:51:26] that's our sunlight right all of the
[02:51:28] Rays of the directional light are
[02:51:31] parallel to one another uh rather we
[02:51:34] will use Point light and I need the
[02:51:37] point light to
[02:51:38] [Music]
[02:51:40] be
[02:51:41] somewhere where we can actually see it
[02:51:44] please oh there it
[02:51:46] is there it is
[02:51:49] there we go so that's our Point light
[02:51:54] and you can see that it's pretty intense
[02:51:56] right now so I'm going to talk about the
[02:51:59] settings that you can change first of
[02:52:01] being the intensity of the light let me
[02:52:04] reduce this to one
[02:52:06] Candela something like that of course
[02:52:08] our camera
[02:52:11] readjusts that's fine or not camera but
[02:52:14] viewport camera readjust that is fine
[02:52:16] with us so you can control the intensity
[02:52:20] of the light this way right with the uh
[02:52:22] with Candelas light color clearly it's
[02:52:27] just you know you can change the light
[02:52:28] to any any color you want let me cancel
[02:52:31] out of that um also if you want separate
[02:52:35] RGB values you can choose those I will
[02:52:38] keep the light as white for now um
[02:52:42] Source radius is actually a pretty um
[02:52:47] important or sorry attenuation radius is
[02:52:50] how far does the light
[02:52:52] calculation extend and basically how far
[02:52:55] does the gradient of the light extend so
[02:52:59] in this case it's 10 m uh we can
[02:53:02] decrease the attenuation down
[02:53:04] to let me do a meter just so that you
[02:53:07] can see right so the light stops at this
[02:53:12] range so let me do ATT anation radius of
[02:53:15] 5 m something like that well wait five
[02:53:18] 500 right something like that then we
[02:53:22] have Source radius any light source in a
[02:53:25] real engine can produce soft shadows
[02:53:29] and I guess from from school you know
[02:53:32] that the larger the light source the
[02:53:35] softer the shadow right so when it's
[02:53:38] cloudy outside the light uh is actually
[02:53:43] being shown through the cloud right
[02:53:45] meaning that the light source becomes
[02:53:47] much much larger larger so the Shadows
[02:53:50] on the ground from you or from a cars or
[02:53:52] from anything become much softer um same
[02:53:56] thing here if we say that this light
[02:53:58] source has a source radius of let's say
[02:54:02] uh not 5 m let's let's do uh 50 cm you
[02:54:07] can see that all of the Shadows became
[02:54:09] much
[02:54:10] softer right just like that so that's
[02:54:15] how you can control the attenuation uh
[02:54:18] sorry The Source radius um there's other
[02:54:22] um settings here but I don't think that
[02:54:24] it's necessary for us to cover those
[02:54:27] settings until you I mean you need to
[02:54:31] learn the basics
[02:54:32] first um so that's
[02:54:35] the the most mostly the point light
[02:54:38] settings that that I usually change the
[02:54:41] first four and then the next step is the
[02:54:45] actual
[02:54:47] Shadow right
[02:54:48] here you can see that the shadow of our
[02:54:51] light let me make this
[02:54:54] uh a little
[02:54:57] bit slower there we go the Shadow from
[02:55:01] this light is not that great I mean if I
[02:55:03] move this
[02:55:04] around the softness nah that that that's
[02:55:08] that's not not that fantastic so how can
[02:55:11] we fix this well there are two types of
[02:55:15] Shadows and if I just in my light
[02:55:17] settings if I type in
[02:55:21] Shadow uh there's the possibility to
[02:55:24] cast Shadow but um a much more important
[02:55:27] one is cast Ray Trace
[02:55:30] Shadows this setting right here so there
[02:55:34] are two types of uh Shadows I I believe
[02:55:38] the first one is cascading Shadows or
[02:55:40] something like that and the second one
[02:55:42] is R Tred
[02:55:44] Shadows right so if I enable this
[02:55:49] now this
[02:55:51] light the Shadows from this light are
[02:55:54] calculated per Ray basis so the Shadows
[02:55:58] themselves become much more accurate let
[02:56:00] me reduce let me close that so cast rate
[02:56:04] Trace Shadows I enable that and cancel
[02:56:08] that uh let me reduce the source radius
[02:56:12] uh down to like
[02:56:14] 10 and I'll move the light and and you
[02:56:18] can see that now this becomes much much
[02:56:21] more
[02:56:25] accurate Let's uh let's find actually a
[02:56:29] different kind of a instance where this
[02:56:32] would be even more
[02:56:44] apparent bear with me one second
[02:56:50] something like
[02:56:54] this there we go that corner right
[02:56:57] there
[02:56:59] shadow cast R Trace Shadows I'll reset
[02:57:02] it to default by clicking on this little
[02:57:05] icon right
[02:57:07] here and you can see here now this uh
[02:57:10] Edge it's it's all shaky it's all wobbly
[02:57:14] actually this is doing a pretty decent
[02:57:16] job as it is
[02:57:19] uh I guess that's because of our uh
[02:57:21] Shadow uh or not sorry not Shadow but
[02:57:24] light uh Source radius so if I increase
[02:57:28] this a little bit more then you can
[02:57:30] start seeing the stair stepping effect
[02:57:34] that it has right it's still sharp but
[02:57:37] also it's soft so now back to
[02:57:43] retrac cast race Shadows enabled
[02:57:48] this is much higher
[02:57:51] quality right of course it comes at a
[02:57:53] cost uh you do need to like the your
[02:57:57] graphics card is working over time when
[02:57:59] you're doing that but um I think that is
[02:58:02] definitely worth it so that's that okay
[02:58:06] let me delete this another um where is
[02:58:10] it lights another light type is
[02:58:13] Spotlight which is basically well it's
[02:58:17] uh pretty pretty much self-explanatory
[02:58:19] right it's a projector based light
[02:58:23] source that I'm trying to get in here
[02:58:26] there we
[02:58:27] go projector based light source that I
[02:58:30] will most likely add to this little uh
[02:58:35] point right here so to add it we do need
[02:58:38] to rotate
[02:58:41] it uh 180 or
[02:58:46] 90° no to 70 probably yeah and then
[02:58:50] rotate it
[02:58:53] here uh just something like
[02:58:56] that move it in
[02:59:04] place
[02:59:08] position
[02:59:11] position
[02:59:14] position you don't need to be super
[02:59:16] accurate about it but of course
[02:59:19] course uh let's make this even
[02:59:26] slower and never ever have the light
[02:59:31] hit whoa that I messed it up contrl Z I
[02:59:35] never ever have the light hit the
[02:59:39] surface uh like hide inside of the
[02:59:41] surface that's never a good idea by the
[02:59:44] way notice how when I move this
[02:59:47] immediately my light snaps to different
[02:59:50] surfaces that is because um when you're
[02:59:54] dragging something by the arrow it
[02:59:56] overrides the surface snapping but if
[02:59:58] you're not then this surface snapping um
[03:00:02] tool I guess or option uh overrides your
[03:00:06] movement and it starts snapping around
[03:00:08] so keep in mind uh this should be
[03:00:12] unticked the surface spping should be
[03:00:14] unticked when you're doing like
[03:00:16] Precision Movement Like This
[03:00:18] and we just add it
[03:00:25] there for some reason this looks
[03:00:28] awkward I think it needs to move down a
[03:00:32] bit y something like that all right so
[03:00:37] that's our light source um
[03:00:40] the spotlight uh light source and I'm
[03:00:43] just going to switch from default
[03:00:47] viewport to cinematic
[03:00:49] viewport and press F I guess can't zoom
[03:00:54] into it
[03:00:57] huh let's try there we
[03:01:01] go just to see how it looks like so
[03:01:04] cinematic viewport does not show the
[03:01:07] preview of the icons basically are not
[03:01:11] shown with cinematic viewport um I'm
[03:01:14] just using it to evaluate the angle of
[03:01:17] the light light seems a little bit iffy
[03:01:20] so I'm going to change it up and not
[03:01:24] okay let me switch back
[03:01:28] to uh default
[03:01:30] viewport really hate that oh my God I
[03:01:34] really really hate that it's
[03:01:38] um puts me here uh that I constantly
[03:01:42] need
[03:01:43] to uh go
[03:01:45] back which one was it
[03:01:48] yeah Cinema actor
[03:01:52] 5
[03:01:55] pilot oh I can't pilot there great
[03:01:59] cinemactor 5 there we go select this and
[03:02:03] we can continue so with this selected I
[03:02:07] want uh the area the angle of the light
[03:02:11] to become less so I'm going to uh change
[03:02:16] the inner cone angle and the outer cone
[03:02:18] angle first so my inner cone angle is
[03:02:21] going to
[03:02:25] be that's where
[03:02:28] the 100% intensity of the spotlight
[03:02:32] shines so it's going to be something
[03:02:34] around 5° and my outer cone angle is
[03:02:37] going to
[03:02:41] be something like
[03:02:43] 26° then just looking at
[03:02:48] where the light shines I think this
[03:02:51] might be a much
[03:02:53] better kind of look for
[03:02:58] this okay something like that uh so 5°
[03:03:03] 27° uh maybe 30 let's do 30 then for the
[03:03:08] intensity I'll reduce the intensity by
[03:03:10] quite a bit uh two
[03:03:12] Candela something like
[03:03:14] that uh then for the source radius I
[03:03:17] will will increase the source radius
[03:03:19] just a tiny bit uh let's go for like 10
[03:03:24] or so for softer shadows and of course I
[03:03:28] will type in
[03:03:30] Ray and choose enabled R traced Shadows
[03:03:35] so that these guys
[03:03:37] are accurate right once I'm happy with
[03:03:41] this I'll stop piloting my
[03:03:43] camera I'll take this light source
[03:03:46] holding down the ALT key I will copy it
[03:03:49] to the other side of the
[03:03:51] buted just like
[03:03:56] that easy
[03:04:00] peasy there we go by the way if you want
[03:04:03] to hide the these icons of the lights uh
[03:04:07] temporarily you can also go to show and
[03:04:14] find never
[03:04:16] mind never for
[03:04:18] my
[03:04:20] Sprites light lighting yeah this uh you
[03:04:25] untick this and then it does not show
[03:04:28] you the lighting
[03:04:30] Sprites all right so now uh we have this
[03:04:34] going on for us which is uh which is
[03:04:36] great uh we still need to add a little
[03:04:40] bit more lighting from the outside
[03:04:42] because if I actually uh let me do this
[03:04:46] Cinema Camera actor let me just log this
[03:04:49] in
[03:04:50] place just to uh just to have it uh here
[03:04:58] and make adjustments accordingly can we
[03:05:01] make this bigger no we can't okay that's
[03:05:04] cool so uh how do we add more light to
[03:05:09] the scene how do we make that more light
[03:05:12] shine through the window that we have
[03:05:14] right here well that is done with
[03:05:18] rectangular light so I'll go into my uh
[03:05:22] Lights under Spotlight there's
[03:05:25] rectangular light and I'll just add one
[03:05:27] in drag it out
[03:05:31] here and just kind of look at it you can
[03:05:34] see that the rectangle light rectangular
[03:05:37] light let me rotate it shines only to
[03:05:40] One Direction in this case downwards so
[03:05:43] I don't want that I want it to shine
[03:05:46] towards my facade like
[03:05:50] that and I want its size to fit with the
[03:05:53] size of the window that I have so
[03:05:56] there's going to be a little bit of
[03:05:58] adjustments you can see that now in the
[03:05:59] interior is just a nuclear explosion let
[03:06:02] me reduce the intensity even more by one
[03:06:06] Candela maybe less uh
[03:06:09] 0.5
[03:06:11] Candela
[03:06:14] 0.3 yep something like that uh should do
[03:06:17] the trick and let me move the light
[03:06:20] source
[03:06:30] closer this is not a fast process it
[03:06:33] takes a little bit of
[03:06:35] time once you have
[03:06:38] it just seems it seems to
[03:06:42] work something like this and now let's
[03:06:45] uh change the size of our rectangular
[03:06:47] light so to change the size all you need
[03:06:49] to do is choose the source width and
[03:06:53] Source height right so our source width
[03:06:56] is 64° that seems to be very close to
[03:07:00] what we want to see and our source
[03:07:02] height is also 64 sorry I said degrees
[03:07:06] centimet so we actually want it
[03:07:10] larger
[03:07:12] right we want to extend almost to the to
[03:07:15] the ceiling
[03:07:17] so let's do
[03:07:20] 200 2 m for the
[03:07:23] height something like that now when I'm
[03:07:26] looking at my render that seems a little
[03:07:29] bit better right now in terms of the
[03:07:35] um size of our rectangular light it
[03:07:39] already has size Incorporated with it so
[03:07:42] we you can't really produce like larger
[03:07:45] light while the light actually has has
[03:07:47] the size so the shadow softness is
[03:07:49] directly related to the softness of the
[03:07:52] light right so that's that that's that's
[03:07:56] what you get um if speaking of Shadows
[03:08:00] uh
[03:08:02] Ray and we use R Tred Shadows for this
[03:08:08] right a little bit softer a little bit
[03:08:11] nicer if I move out my light from the
[03:08:16] window you can see the Reflections
[03:08:18] happening which will mess up one of my
[03:08:21] uh one of my scenes so I need to make
[03:08:23] sure that the
[03:08:26] light is
[03:08:29] inside of my of my room
[03:08:33] right something like
[03:08:38] so okay so there is a lot of kind
[03:08:42] of um mixing and matching of of Lights
[03:08:46] to to make it work let me take a look at
[03:08:49] my other views to just see if it's not
[03:08:53] messing anything up this seems to be
[03:08:57] fine uh that view oh yeah that that view
[03:09:00] is probably going to be okay considering
[03:09:04] that um there's two um light sources
[03:09:09] already there that are Shining Light
[03:09:11] right okay so that's the rectangular
[03:09:14] light we usually uh get those for uh
[03:09:17] indir indirect light situations where
[03:09:20] you want to boost the light amount
[03:09:23] inside of the room in this case uh
[03:09:26] camera number five let me unpin that uh
[03:09:35] particular view now let's switch
[03:09:43] to cinema camera actor 4
[03:09:47] you can see here that the light that I
[03:09:50] have is a little bit uh you know it it
[03:09:53] leaves a little bit more to be desired
[03:09:56] and that has something to do with uh the
[03:09:59] directional light that we're using the
[03:10:01] directional
[03:10:03] light that we
[03:10:07] have it comes from light
[03:10:10] environment the
[03:10:12] sunlight if I search for Ray in here it
[03:10:15] also uses uh cascaded Shadows so not rra
[03:10:19] Shadows so if I expand this I can enable
[03:10:22] rrac shadows and now you can see that
[03:10:26] the Shadows become much more accurate
[03:10:30] and in terms of the frames per second if
[03:10:32] I show the frames per second
[03:10:36] here there we go so it's
[03:10:40] 47 uh around 47
[03:10:44] frames uh
[03:10:45] with what's second it's 47 frames or 55
[03:10:50] even frames with uh the rate Trac
[03:10:53] shadows
[03:10:58] and 16 frames with cascaded shadows hm
[03:11:03] that seems to be
[03:11:06] weird something's fishy I will need
[03:11:11] to investigate a little bit because this
[03:11:14] should not be that
[03:11:23] anyway we we'll we'll do that a little
[03:11:26] bit a little bit later for now this is
[03:11:29] much better let me switch to uh from
[03:11:32] from Cinema uh to or or rather stop
[03:11:36] piloting the camera because I already
[03:11:38] messed it up and zoom in to the wall to
[03:11:42] see what's up
[03:11:48] how does this look
[03:11:50] like yeah that's
[03:11:53] fine 80 frames per second
[03:11:57] huh R Trace
[03:11:59] Shadows
[03:12:02] disabled 43 frames per
[03:12:06] second but of course the the tree leaves
[03:12:10] become uh quite quite nice quite
[03:12:14] lovely so there's there's a trade off
[03:12:17] between the two you know that this
[03:12:20] becomes much softer due to the size of
[03:12:23] the um due to the size of the light
[03:12:27] source right so while this is accurate
[03:12:30] it's maybe not something that you that
[03:12:32] you
[03:12:34] want
[03:12:35] right um there
[03:12:40] is one second
[03:12:48] oh nothing nothing else here that I
[03:12:50] would like
[03:12:52] to uh that I would like to
[03:12:55] change uh show modified
[03:13:01] properties C retrace Shadows yeah that's
[03:13:04] the only property that is actually that
[03:13:06] is actually modified
[03:13:11] right okay um now let's move on to uh
[03:13:16] materials
[03:13:17] so creating lights with materials
[03:13:19] because uh besides these uh types of
[03:13:22] Lights there's also Skylight and uh sun
[03:13:26] and Sky which we are already you know
[03:13:29] I've already covered that with
[03:13:31] environment light mixer so we're not
[03:13:32] going to do that do this again I will
[03:13:35] talk about the environment Lighting in
[03:13:38] general in the next step but um before I
[03:13:44] do so let's talk about
[03:13:47] the the the one second the um materials
[03:13:51] the creation of material that actually
[03:13:55] produces light and for that I will most
[03:13:58] likely just create another
[03:14:07] sphere shapes sphere there we
[03:14:11] go for some reason the sphere made
[03:14:15] everything a little bit brighter
[03:14:19] hey it is what it is um and then I will
[03:14:22] make the sphere glow uh I'll will make
[03:14:25] the sphere glow um by introducing a
[03:14:28] material for it so let's go to
[03:14:31] materials and let's create a new master
[03:14:34] material so right click material name it
[03:14:39] emissive Master missive Master double
[03:14:43] click
[03:14:44] that opens up this new ah this new
[03:14:48] tab which we will minimize and here you
[03:14:52] can see that there is this emissive
[03:14:55] color uh option so there's base color
[03:14:58] and emissive color so I will create a
[03:15:02] constant three
[03:15:05] Vector which is a color and I will uh
[03:15:09] make it or right click on it and convert
[03:15:12] it to parameter and call it
[03:15:15] emissive color
[03:15:18] and it's not just that but I'm also
[03:15:21] going to take it and multiply
[03:15:25] it
[03:15:28] multiply by a scalar uh number by by
[03:15:32] some value right so that is going to be
[03:15:36] constant just
[03:15:38] constant right click convert to
[03:15:40] parameter and call it uh intensity
[03:15:48] and let's say uh while I have this
[03:15:50] selected we can describe the minimum and
[03:15:52] maximum R range of the intensity so
[03:15:55] minimum is zero and maximum let's say is
[03:16:00] 100 something like that connect that to
[03:16:04] multiplication connect multiplication to
[03:16:06] emissive color and that's that you have
[03:16:10] yourselves uh Master material for any
[03:16:13] emissive color now it's not Shining
[03:16:15] Light because it's black and black
[03:16:17] multiplied by by zero is very black so
[03:16:21] uh I guess we need some default
[03:16:23] parameters so default value I'll just
[03:16:26] make it Pure
[03:16:28] White like
[03:16:30] that and intensity default value I will
[03:16:33] make it let's go for
[03:16:36] 10 something like that now it's Shining
[03:16:39] Light nice
[03:16:44] save close
[03:16:47] that's my emissive master right click
[03:16:49] create material
[03:16:52] instance
[03:16:55] emissive I'll just drag it to the main
[03:16:58] material move to the main material
[03:17:00] folder right here and just drag it as my
[03:17:04] um material for the light let's make the
[03:17:09] light smaller as
[03:17:12] well something like that okay a few
[03:17:16] things to
[03:17:18] understand first of all notice did you
[03:17:22] notice that
[03:17:24] shimmering you can still kind of see it
[03:17:27] right the the shimmering effect that is
[03:17:30] Lumen just losing its
[03:17:32] mind so you can't light your scene with
[03:17:36] just emissive light that's impossible
[03:17:39] you can't do that uh emissive light will
[03:17:43] make it so that the scene um
[03:17:48] like you you can have large volumes of
[03:17:52] emissive light with low intensity then
[03:17:54] it's fine as you can see here but the
[03:17:57] moment the light becomes small the light
[03:18:00] source becomes small you will get this
[03:18:02] uh super grainy effect and I think I can
[03:18:05] visualize it even better with Lumen
[03:18:07] scene
[03:18:09] overview
[03:18:15] right that's you know that's the problem
[03:18:18] that's the
[03:18:20] issue because every everywhere
[03:18:23] else the light cache is quite decent
[03:18:28] quite normal well I say that but then we
[03:18:31] look at this oh maybe it's because yeah
[03:18:33] it's probably because of this light and
[03:18:35] here is just you know a rave party so
[03:18:39] make sure to not have that right make
[03:18:43] sure when you're creating a light uh
[03:18:46] with an emissive
[03:18:49] material uh you're actually also let me
[03:18:53] switch back to LIT you're actually also
[03:18:56] right next to it creating
[03:18:59] a point
[03:19:07] light just like that
[03:19:16] and this should not cast
[03:19:19] Shadows cast Shadow turn that one
[03:19:26] off something like that right so now you
[03:19:29] have a missive light and you have a
[03:19:30] helper Point light right inside of it
[03:19:34] and now if I check the Lumen
[03:19:38] thing Lumen scene this is much better
[03:19:42] right that this is it's still flickery
[03:19:45] from from this but this is much much
[03:19:47] better um so keep that in mind uh while
[03:19:50] you still can use uh emissive lights to
[03:19:54] get accents and so on your main light
[03:19:56] source still needs to be oops uh still
[03:20:00] needs to be um these light sources like
[03:20:04] proper light sources in your scene so
[03:20:07] that's that that's uh that's all about
[03:20:10] about Lumen uh sorry all all about light
[03:20:13] sources
[03:20:16] okay um if you want your shadows uh so
[03:20:21] let's say you
[03:20:23] are Cinema camer actor 4
[03:20:27] piloted and you're looking at the
[03:20:28] shadows and they don't look that great
[03:20:31] um keep in mind that this is still a
[03:20:34] preview right this is a preview of the
[03:20:38] scene and there are a few things that
[03:20:40] you can still um fix uh that you can
[03:20:44] still change so for instance Source
[03:20:46] angle you can make your light source
[03:20:49] super sharp um so that there is no
[03:20:52] blurring whatsoever of the
[03:20:56] light
[03:20:58] right but I would suggest still having
[03:21:01] it you know a we still keeping it as a
[03:21:04] default value so in this case the
[03:21:06] directional light does not use Source
[03:21:08] size or scale I guess but uh instead use
[03:21:13] a source angle and the larger the source
[03:21:15] angle the sof
[03:21:17] the light is going to be um I personally
[03:21:21] prefer having a little bit softer light
[03:21:23] so something around one does the trick
[03:21:27] for me this is still a little bit grainy
[03:21:30] if you want to get rid of the Grain in
[03:21:32] the preview you can use field of view uh
[03:21:37] sorry not field of view screen
[03:21:39] percentage here you can switch this to
[03:21:42] 100 well I don't know why it's 80% now
[03:21:46] but you need to use 100% by default let
[03:21:50] me guess this is going to be toned down
[03:21:52] as well no it's not never mind um so
[03:21:56] screen percentage 100 but if you want it
[03:21:59] really
[03:22:00] sharp
[03:22:05] 200% it's
[03:22:10] quite second
[03:22:33] uh 200% uh screen uh space or screen
[03:22:38] size because that is really destroying
[03:22:41] my uh frames instead I'll I'll I'll
[03:22:44] stick to 100%
[03:22:48] okay so that's uh now that's all about
[03:22:51] the light let's move into uh talking
[03:22:55] about the settings and figuring out what
[03:22:59] kind of a settings in terms of quality
[03:23:01] we can change uh because I feel like
[03:23:04] there needs to be yeah we first do the
[03:23:07] settings and then I will show you the
[03:23:09] optimizations and uh at that point we
[03:23:12] will start uh polishing the
[03:23:17] the environment and everything and
[03:23:19] making everything look nice so next step
[03:23:26] settings okay so in terms of settings
[03:23:28] there are two options or two uh
[03:23:31] variations of where you change the
[03:23:33] settings in an Unreal Engine five well
[03:23:37] at least this kind of a global all
[03:23:41] encompassing light settings that we find
[03:23:44] to be important in architectural visol
[03:23:46] ization uh Global setting such as the
[03:23:50] project setting that's how it's called
[03:23:52] is located right here under
[03:23:54] settings uh project settings tab and
[03:23:58] that uh all of the settings that are
[03:24:00] here are um will be applied to every
[03:24:05] level within your project right so if
[03:24:07] you have multiple levels all of them
[03:24:09] will share the same project settings so
[03:24:12] these are kind of global then you have
[03:24:15] local settings for for any individual
[03:24:18] level and those are usually described
[03:24:20] through the postprocess volume a volume
[03:24:23] that we've already created before right
[03:24:26] so it's here and all of the settings can
[03:24:28] be kind of written down here I will
[03:24:31] cover both of them but uh only the areas
[03:24:33] clearly the areas that I find to be most
[03:24:36] important for a beginner user so first
[03:24:39] of all under settings under project
[03:24:41] settings let's do some Global stuff um
[03:24:45] you will feel scared when you opened up
[03:24:48] this but don't be uh there's not too
[03:24:51] many things to change here actually the
[03:24:54] first thing to look at is your maps and
[03:24:57] modes um list right here where you can
[03:25:01] change what kind of map is used as a
[03:25:05] startup map for your project so in this
[03:25:08] case I've CH chosen building one so I
[03:25:11] Want My Level to always open up uh first
[03:25:16] first when I open up the project right
[03:25:20] so that's that's uh thing number one to
[03:25:22] change then you have under under under
[03:25:26] under supported platforms I have
[03:25:28] unticked everything and only left
[03:25:30] windows in because I'm not going to be
[03:25:33] messing around with any other of these
[03:25:35] platforms only the windows in this case
[03:25:39] Target Hardware desktop maximum easy
[03:25:43] peasy for now then we scroll down until
[03:25:46] we see an engine under engine rather we
[03:25:50] see rendering there we go
[03:25:53] rendering and here we
[03:25:58] find global elimination tab Global
[03:26:01] elimination is indirect lighting that
[03:26:03] your scene gets from bounced light and
[03:26:07] it needs to use
[03:26:08] Lumen right so the calculations need to
[03:26:11] be done through the method of
[03:26:14] lumen um make sure that that's turned on
[03:26:17] reflection method also Lumen this is a
[03:26:20] very powerful tool reflection capture
[03:26:23] resolution to 256 seems to be fine you
[03:26:28] know that Chrome ball right there is not
[03:26:30] doing that great but uh if you want to
[03:26:33] you can increase this to
[03:26:35] 512 uh that's going to be a little bit
[03:26:38] better but lumen in general uh the
[03:26:41] reflections from Lumen are kind of kind
[03:26:44] of me on to be honest there are we will
[03:26:48] be changing a few things here to make it
[03:26:50] a little bit better but in general I
[03:26:53] would suggest not using um a lot of
[03:26:58] super shiny you know Chrome like
[03:27:02] materials uh when when when working in
[03:27:05] unreal unless you're going to be doing
[03:27:07] path tracing or uh R traced
[03:27:10] Reflections uh then it's another thing
[03:27:13] but in this case we're using Lumen lumen
[03:27:16] 512 for the
[03:27:18] resolution uh don't ramp up this too
[03:27:21] much R litic mode we will use surface
[03:27:25] cache so it basically
[03:27:29] um there are two two variations to this
[03:27:32] hit lighting cache and surface cache um
[03:27:38] hit lighting cache uh it costs more uh
[03:27:42] is better for I I believe uh
[03:27:48] I don't I don't I don't honestly sorry
[03:27:50] but I don't remember the differences
[03:27:51] between them I just know that uh I use
[03:27:54] surface cache because the visually the
[03:27:57] uh quality increase between surface
[03:28:00] cache and light thing for Reflections is
[03:28:03] so minuscule that I perform uh prefer to
[03:28:07] get the additional performance from this
[03:28:10] mode if that makes sense I hope it does
[03:28:14] then for surface rate racing mode I uh
[03:28:16] don't use global tracking actually I use
[03:28:18] detail tracking because global tracking
[03:28:21] um tracks the rise from um anywhere on
[03:28:25] the scene while detail tracking only um
[03:28:28] tracks for first 200 M I
[03:28:32] think something like that um so I prefer
[03:28:36] using detail tracking here for you know
[03:28:40] how how does the light travel because
[03:28:42] anything that's further away than 200 M
[03:28:45] I don't really care care it's not going
[03:28:47] to be a big deal right something like
[03:28:51] that uh Shadow mapping method virtual
[03:28:54] Shadow Maps you always want virtual
[03:28:56] Shadow Maps always support Hardware
[03:28:59] retracing have this turned on um
[03:29:02] everything else yeah just just as what
[03:29:06] you see on my screen uh nothing to
[03:29:08] because by default we want retraced
[03:29:10] Shadows to be turned off and we want to
[03:29:12] turn it on per uh light BAS is because
[03:29:16] they cost a lot right so we want them to
[03:29:18] be only used when it's definitely
[03:29:22] necessary says the guy
[03:29:25] who tick marked the use R raced Shadows
[03:29:28] for every single light that I have
[03:29:30] created up until now well it is what it
[03:29:34] is all right uh that's honestly about it
[03:29:39] in this case
[03:29:42] yeah yeah nothing else to change here
[03:29:45] okay now if we go all the way down here
[03:29:50] down to platforms
[03:29:53] windows we will be presented with uh
[03:29:57] direct 3D direct X 3D uh 12 Target
[03:30:02] Shader formats we use
[03:30:06] sm6 um that is the newest one uh you
[03:30:09] could use sm5 uh if you want to I
[03:30:12] believe um
[03:30:17] one second uh uh I believe
[03:30:19] sm5 uh is was used for Unreal Engine 5.0
[03:30:24] so that probably would be more stable
[03:30:27] one but don't quote me on that I don't
[03:30:31] know uh I tend to use the newest ones
[03:30:34] though so that's sm64 D3 D12 and D3 d11
[03:30:39] sm5 uh much more importantly uh default
[03:30:44] rhi is direct X12 not direct X11 but
[03:30:49] direct X12 this if you have it set to
[03:30:53] direct X1 make sure to change it to
[03:30:56] directx12 and restart your uh project
[03:31:00] okay that's all the global settings that
[03:31:03] you need to change now for
[03:31:06] the um local settings so to say your
[03:31:10] level settings go to your post process
[03:31:13] volume and here search for uh Lumen or
[03:31:18] rather we can also go into Global
[03:31:20] elimination right
[03:31:22] here so postprocess volume scroll scroll
[03:31:25] scroll until you see global elimination
[03:31:27] expand that expand that Lumen Global
[03:31:32] elimination rate tracing Global
[03:31:35] elimination you get these settings right
[03:31:38] here
[03:31:41] right so you can take Mark Lumen
[03:31:44] immediately as your global anation and
[03:31:46] then here you have all of the different
[03:31:49] settings that you can uh that you can
[03:31:51] play around with that you can change I
[03:31:54] will only guide you through the ones
[03:31:55] that I find to be important for this I
[03:31:58] tend to turn on Lumen
[03:32:03] overview like that and I tend to look at
[03:32:06] the different um colors color coding in
[03:32:10] my Surface cache for instance right so
[03:32:14] if I tick mark lumen seen lighting uh
[03:32:17] quality and I increase
[03:32:20] this to like
[03:32:23] four or was it Lumin in detail I I tend
[03:32:27] to increase them both to four uh the
[03:32:30] quality here should be a little bit
[03:32:33] better let's see if that
[03:32:36] helps that's not really change that much
[03:32:38] does
[03:32:39] it final gather quality um that for that
[03:32:43] we will need to change the
[03:32:46] sorry back in here we need to change to
[03:32:50] um some corner here final gather quality
[03:32:55] we can do two right so if you have any
[03:33:00] area that is quite
[03:33:04] dark The Gather of lumen will be of
[03:33:08] higher quality so 4
[03:33:10] 42 Lumen seene view
[03:33:13] distance right this is how far does it
[03:33:17] uh trace the race you can see that here
[03:33:22] I I turn it to one so just to show you
[03:33:25] how it looks like when the scene
[03:33:28] distance is set to
[03:33:30] one so it's not being traced it's all
[03:33:33] screen space right
[03:33:35] now and back to whoa whoa whoa whoa whoa
[03:33:39] back to its original that is 200
[03:33:42] M like that right I'm not sure if uh
[03:33:46] YouTube is picking up uh like if YouTube
[03:33:49] compression is not killing the the
[03:33:52] things that I'm trying to show you
[03:33:53] because there are so many things that
[03:33:55] are quite quite small on the
[03:33:58] screen
[03:34:00] um max Trace distance uh again with uh
[03:34:05] distance set to one you can see that all
[03:34:08] of the tracing is now only screen space
[03:34:14] you can definitely see this one right
[03:34:17] like the global illumination is just
[03:34:19] garbage right now um let me do this
[03:34:24] overview like that and if I change the
[03:34:28] max Trace distance to its original size
[03:34:30] now it's tracing properly
[03:34:33] right at least that should be pretty
[03:34:37] visible and then we have retra Global
[03:34:40] elimination we can um change this to
[03:34:50] um can we change this to more bounces
[03:34:54] yeah we can but we shouldn't uh I don't
[03:34:57] at least I don't think we should so here
[03:35:00] if if uh you have a very dark room and
[03:35:02] you want it to have more bounces you can
[03:35:06] have by increasing the bounce amount
[03:35:08] samples per pixel here you can um use
[03:35:12] more samples but that's not really going
[03:35:14] to change much
[03:35:17] um it's much better to use uh higher uh
[03:35:20] resolution as you're rendering out there
[03:35:23] are still some problems
[03:35:25] especially here in this corner but I
[03:35:28] feel like those problems stem from the
[03:35:30] geometry itself the fact that the
[03:35:32] geometry is a single shell that is
[03:35:34] wrapping around this should be exploded
[03:35:38] then it would uh would work much much
[03:35:40] better perhaps it's also Let's uh one
[03:35:44] thing uh check one thing browse to asset
[03:35:46] right click nanite and not build nanite
[03:35:49] for this
[03:35:51] disable no never
[03:35:53] mind never mind it's it's not a nanite
[03:35:57] problem it's just this type of geometry
[03:36:00] that is messing up that's okay still
[03:36:04] looks quite good quite fine uh for that
[03:36:10] corner all right
[03:36:13] so in terms of the Reflections and the
[03:36:16] lighting and so on those are the main
[03:36:19] settings that I change uh let me go back
[03:36:24] to let me go back to post processing
[03:36:27] volume and check if there are anything
[03:36:32] else Reflections color grading depth of
[03:36:36] field lens
[03:36:38] flare no nothing nothing else so those
[03:36:41] are the settings that I change I
[03:36:44] honestly oh I can and take this I
[03:36:46] wantest see the final gather quality I
[03:36:48] could use like four or even more but uh
[03:36:52] in for this scene since it has a lot of
[03:36:55] light seems like two is absolutely fine
[03:36:58] so I'm just going to
[03:37:04] um I'm just going to use
[03:37:07] that sorry I just I've never changed it
[03:37:11] this setting before so I just wanted to
[03:37:14] see what it does
[03:37:17] um final
[03:37:21] gather nope uh we don't we don't do
[03:37:24] those
[03:37:27] here okay so in terms of the settings we
[03:37:32] are done uh now it's time to talk about
[03:37:36] additional uh settings here so first of
[03:37:40] all if you see this kind of a problem
[03:37:43] emerge here uh that usually uh has
[03:37:47] something to do with uh nanite right so
[03:37:51] nanite uh tends to optimize the geometry
[03:37:54] but rrac shadows and nanite sometimes
[03:37:58] mess up especially if the geometry is
[03:38:00] not that clean as you can see you know
[03:38:03] from this so how do you fix it well you
[03:38:05] just need to disable nanite for this
[03:38:07] particular mesh so for this B I will
[03:38:10] right click browse to asset find it
[03:38:13] right click on it click on nanite oh you
[03:38:16] can't
[03:38:17] see right click on it click uh select
[03:38:22] nanite and choose to disable nanite bam
[03:38:27] that's fixed same thing for this one
[03:38:29] that's B five I already see it here
[03:38:32] right click nanite disable the shading
[03:38:35] is fixed I'll go around real quickly
[03:38:38] trying to find other instances where
[03:38:41] nanite
[03:38:43] is being a bad boy
[03:38:49] this is actually a good place uh for me
[03:38:52] to kind of show showcase the difference
[03:38:56] in the postprocessing volume notice that
[03:38:58] that kind of there's still a little bit
[03:39:00] of Shimmer come
[03:39:03] on there's still a little bit of
[03:39:05] shimmering going on around this area but
[03:39:09] this is much better let me uh really
[03:39:12] quickly to keep it pedagogical show you
[03:39:14] how it looks like
[03:39:16] with um these
[03:39:23] unticked right much worse Much More Much
[03:39:27] More shimmering right and with uh
[03:39:30] lighting quality set to four scene
[03:39:33] detail set to four final final gather
[03:39:36] quality set to four or set to
[03:39:39] two that becomes much
[03:39:42] better right okay
[03:39:45] so now uh for the foliage let's talk
[03:39:51] about foliage a little bit let me turn
[03:39:54] this monster on and let's look at the
[03:39:58] foliage you can see that as I am moving
[03:40:02] in oh and I should move myself back in
[03:40:05] here as I'm moving in the foliage
[03:40:09] changes it's uh LOD the level of detail
[03:40:14] right so as I move out it becomes this
[03:40:17] kind of
[03:40:18] a messed up looking bad looking mesh as
[03:40:22] I move in it looks a little bit better
[03:40:25] but as I move out bad better bad okay so
[03:40:28] that's the first thing that we need to
[03:40:29] fix it's the that switching uh between
[03:40:34] the lods to do that we will need to use
[03:40:38] this console at the bottom and we will
[03:40:41] need to use a command so
[03:40:46] write this down r dot r as in render r
[03:40:52] dot
[03:40:57] rracing
[03:41:00] dot r. rracing dot
[03:41:04] geometry
[03:41:07] dot
[03:41:11] instanced instanced static meshes and
[03:41:15] then in this list just find uh dot
[03:41:19] culling the whole thing is r. rracing do
[03:41:23] geometry. instant static meshes doing
[03:41:26] click on
[03:41:28] it press space bar and type in
[03:41:32] zero so the full command is r. uh
[03:41:36] rracing do geometry. instance static
[03:41:39] meshes do culling spacebar
[03:41:44] zero and
[03:41:58] wait was that oh crap that's for the
[03:42:02] Shadows that's the wrong one actually
[03:42:04] that one we also need to use so that's
[03:42:06] fine I'm just doing it backwards the
[03:42:08] thing that you just entered
[03:42:12] uh Ray tracing
[03:42:16] dot uh geometry one second H
[03:42:23] geometry instant static meeses coling
[03:42:28] one uh the thing that you have just
[03:42:30] changed was the lack of
[03:42:33] Shadows uh from the geometry uh that is
[03:42:37] further away right a geometry that is
[03:42:40] instant geometry that is not uh
[03:42:43] producing Shadows right but
[03:42:45] it's still kind
[03:42:47] of would switch its lods sorry about
[03:42:50] that so let me do this again
[03:42:54] um r.
[03:42:58] rracing dot I guess I'm getting uh a
[03:43:01] little bit tired
[03:43:04] geometry do instance static meeses
[03:43:07] coling do uh not dot but space bar zero
[03:43:12] okay that's good and now the ACT ual
[03:43:15] thing that I was talking about the
[03:43:17] changes of levels of detail we don't
[03:43:20] want that so I'm just going to and this
[03:43:22] is going to destroy my frames but I'm
[03:43:24] going to do it either way um
[03:43:28] poage oops you don't write it here you
[03:43:31] write it in the console
[03:43:37] foliage dot
[03:43:41] Force
[03:43:43] LOD not without Dot yeah you can see it
[03:43:45] here foliage Force LOD space bar zero
[03:43:49] zero LOD is the highest level LOD
[03:43:53] possible actually that's fine it was
[03:43:55] only like a 10 uh frames per second
[03:43:59] hit that's not that
[03:44:03] bad so now there's not going to be any
[03:44:06] awkward switching
[03:44:09] anymore all right now it's time
[03:44:13] to make it nice make everything nice so
[03:44:17] for that I will need to download a few
[03:44:23] um more assets delete a few trees place
[03:44:28] a few trees and whatnot and and just
[03:44:30] make this whole thing a little bit more
[03:44:32] optimized a little bit nicer right now
[03:44:34] we're at around 20 frames per second
[03:44:37] when I'm looking at the forest and we're
[03:44:40] going to be at um 19
[03:44:45] actually frames per second as I'm
[03:44:46] looking at the forest and once I'm
[03:44:48] inside uh we're kind of closer to 45
[03:44:51] frames per
[03:44:53] second right so let's make this uh a
[03:44:56] little bit a little bit better all
[03:45:00] right I guess time lapse time
[03:47:52] for
[03:48:58] okay so we need to talk today is the
[03:49:01] next day and I have rebuilt the whole
[03:49:04] project from scratch in and real engine
[03:49:09] 5.1.1 because 5.2 was being unreasonable
[03:49:14] it was crashing constantly and super
[03:49:17] unstable so now we have exactly the same
[03:49:21] project in
[03:49:24] 5.1 as I was rebuilding it I was
[03:49:26] thinking if there were any changes
[03:49:30] between the two versions that I should
[03:49:31] note and there were none so anything
[03:49:34] that I have already taught you that
[03:49:37] stays right it's uh you don't need to
[03:49:40] change anything so um here let me just
[03:49:44] guide you through what was
[03:49:48] done uh are we piloting no we're not
[03:49:52] okay so all of the
[03:49:55] materials all of the different materials
[03:49:57] are exactly the same right as as what we
[03:50:01] had before in the previous
[03:50:04] version so that's done the light uh
[03:50:07] everything is the same except the trees
[03:50:09] I reduced the amount of trees uh and by
[03:50:12] doing so I increased the ceiling of how
[03:50:18] many like vegetation and mesh pieces I
[03:50:21] can have here in in my scene right so
[03:50:25] now if I go to actor zero or sorry
[03:50:30] camera actor
[03:50:31] zero like that you can see that it's
[03:50:35] much more interesting there's much more
[03:50:38] stuff going on and it becomes much more
[03:50:40] in you know
[03:50:42] atmospheric so that was added and and uh
[03:50:45] it's all quickel Mega scans by the way
[03:50:48] every single thing is free quickel Mega
[03:50:51] scans Library well you saw the the the
[03:50:54] the time lapse right so that's uh then
[03:50:58] we have another camera camera 1 which is
[03:51:03] a zoomed in version of camera zero so
[03:51:07] I'm I'm starting to frame the views and
[03:51:09] starting to get the feeling of what do I
[03:51:12] want to and I should why is this pen oh
[03:51:15] because it's selected never mind there
[03:51:18] we go I want to get the feeling of you
[03:51:21] know how I'm going to frame this and
[03:51:22] what kind of videos will I make with um
[03:51:26] this program so a zoomed in version then
[03:51:30] we have actor
[03:51:34] three again quick sell Mega
[03:51:37] scans this is not even like a plate this
[03:51:40] is a pottery thing that doesn't matter
[03:51:43] uh if you can
[03:51:45] albula and actor 2 you already seen this
[03:51:49] right
[03:51:52] so basically uh at this stage I would
[03:51:55] say we
[03:51:57] are like in terms of quality we're kind
[03:51:59] of 90% there you know uh we're we have
[03:52:03] the surrounding environment we have all
[03:52:05] of the materials set up the light seems
[03:52:07] fine um the settings are okay I mean you
[03:52:11] might say that well here it's it's very
[03:52:14] jittery that's fine this is the preview
[03:52:16] I wanted to be to be jittery in the
[03:52:19] preview especially considering that
[03:52:21] currently I'm using screen percentage of
[03:52:24] 80 rather than 100 just to make sure
[03:52:27] that you know it's not going to crash
[03:52:30] while I am presenting if I were to do
[03:52:33] 200% of the preview this would look much
[03:52:37] much better okay with that said I want
[03:52:40] to cover I want to cover one more uh
[03:52:44] thing that is called uh deal deal deal
[03:52:48] I'm not sure I'm not sure how it's
[03:52:50] called um I guess
[03:52:52] deal d e c
[03:52:55] a
[03:52:58] LS um and they are basically projected
[03:53:02] textures that you can project on top of
[03:53:04] any surface right so let's say this
[03:53:08] table right here right if I go to Quick
[03:53:11] cell Bridge Under well I already have
[03:53:13] downloaded a few but I'll show you under
[03:53:16] home under
[03:53:18] deal um you have all of the different
[03:53:22] tattoos let's say that you can add to
[03:53:25] your surfaces and if we look at
[03:53:31] fabric rag no not rag something
[03:53:36] else oh
[03:53:39] no is it trim no it's not trim is it
[03:53:42] under other yes other table table
[03:53:45] mat you can find all of the different
[03:53:49] types of table mats that you can put on
[03:53:51] the table the quality of course will not
[03:53:54] be the same as having a mesh but these
[03:53:56] are very cheap in terms of the uh the
[03:54:00] the the the calculation computation
[03:54:03] right so you just download it you know
[03:54:06] get get it in your um unreal file and
[03:54:11] then under Mega scans under deal you
[03:54:13] will see deals you will see table
[03:54:17] mat here right which has three different
[03:54:21] uh textures and one material instance so
[03:54:25] for this material instance all you need
[03:54:27] to do is you just drag and drop it in
[03:54:31] and you can see it's now being applied
[03:54:34] it is a big boy ain't going to lie and
[03:54:36] it even applies to the camera which is
[03:54:39] funny um it's a big boy and it's being
[03:54:43] projected as you can clearly tell in a
[03:54:46] very um kind of straight up way so so it
[03:54:49] just goes down one
[03:54:53] second like that so it just goes down
[03:54:55] right it's being projected down can you
[03:54:58] project it sideways yes you can you can
[03:55:00] just rotate
[03:55:01] it you know
[03:55:05] 90° come
[03:55:07] on and if we move it closer to the wall
[03:55:12] it gets projected on the wall but we're
[03:55:14] not going to be doing that right instead
[03:55:17] we'll be working with the menus that we
[03:55:20] have here so to to make this work so
[03:55:23] first thing is the size the size of it
[03:55:26] right we can reduce the size
[03:55:29] dramatically to something like
[03:55:32] this that's much more reasonable perhaps
[03:55:35] even lower um round 20 something like
[03:55:40] that and now um while the scale is
[03:55:43] correct it there's still a little bit of
[03:55:45] an issue with the texture being mapped
[03:55:49] onto
[03:55:50] our buns so to fix that we need to
[03:55:54] unlock the uniform
[03:55:56] scaling for the size and change the x
[03:56:00] value basically make the projection of
[03:56:05] the de deal uh make it very thin so
[03:56:12] something like
[03:56:15] 0.2 mm and then very carefully you move
[03:56:21] it until it hits the
[03:56:24] table and once it hits the
[03:56:27] table H maybe it's a little bit too thin
[03:56:32] point4 yep something like
[03:56:35] that you can see once it hits the table
[03:56:39] it creates this texture on top of the
[03:56:41] table right so now you have um a little
[03:56:44] rug again the quality of it or not rug
[03:56:48] tablecloth the quality of it is not
[03:56:50] going to be great right it this is
[03:56:52] something that should be used from afar
[03:56:55] and definitely not for a close-up shot
[03:56:58] like what we have here right this is not
[03:57:01] the edge of it is not going to look
[03:57:03] natural but with that being said um this
[03:57:07] is it it has a lot of use cases if you
[03:57:11] need to populate a lot of stuff in the
[03:57:14] far end of the room I'll delete it
[03:57:17] though I'll go in here to this
[03:57:21] facade and I'll add another I've
[03:57:24] downloaded a mud stain uh decal and I'll
[03:57:28] just add it onto the wall and you can
[03:57:30] immediately see it being
[03:57:33] applied right like that and all I need
[03:57:38] to take care of is that it does not
[03:57:40] translate on the inside because right
[03:57:43] now it's being SL onto the inside as
[03:57:45] well right it goes the projection goes
[03:57:48] through so I need to change the the size
[03:57:51] of it as as per usual and I will also
[03:57:55] need to
[03:57:57] change so let's scale it down a
[03:58:02] bit move it over here something like
[03:58:07] that that should do the trick and then
[03:58:10] let's make it I think it's X right
[03:58:15] yes in X
[03:58:18] Direction let's make it quite thin so
[03:58:22] again 1 cm of thickness or actually we
[03:58:27] probably need it a little bit more
[03:58:29] because our Uh Wood
[03:58:32] extends uh Beyond 1 cm so let's do like
[03:58:35] 5
[03:58:37] cm of thickness and just dra drag it a
[03:58:40] little bit
[03:58:43] out sck a
[03:58:46] gander how does that look like can you
[03:58:48] even see it I hope you can right the
[03:58:50] stains here those just uh make it the
[03:58:54] whole thing a little bit more believable
[03:58:57] right so that's done we we have
[03:58:59] ourselves a little bit of a stain for a
[03:59:02] close-up
[03:59:03] shot
[03:59:05] um these are very powerful tools that
[03:59:08] you can that you can use to get the
[03:59:12] extra you know I said that we're at 90%
[03:59:15] of the quality that I would like to see
[03:59:18] um by using uh deal you can
[03:59:23] reach you know 92
[03:59:28] 93% um how do you reach 100% well you
[03:59:32] don't you don't reach 100% you can only
[03:59:34] strive to reach
[03:59:36] 100% um the closest that you can get is
[03:59:39] you know if you just o populate the
[03:59:41] whole scene if you have a lot of like
[03:59:44] micro uh textures here here and there
[03:59:48] and just kind of uh showcasing the
[03:59:52] building as if it was lived in not just
[03:59:55] as a brand new uh space but we don't
[03:59:58] really have that uh time here so I'm
[04:00:00] going to you know skip over that part
[04:00:03] but actually I I think I should show you
[04:00:06] the potential so give me a second I will
[04:00:09] show you another project that I'm
[04:00:11] currently working on just to um explain
[04:00:15] and then we will continue from
[04:00:20] there all right so this is a project
[04:00:23] from my previous uh YouTube video on on
[04:00:27] Andre engin where we did actually I can
[04:00:30] show you I
[04:00:31] guess uh let's play in
[04:00:34] viewport
[04:00:36] oh there we go um where we
[04:00:40] can construct a staircase and also when
[04:00:44] I talk the character talks blah blah
[04:00:46] blah but the thing that I wanted to show
[04:00:50] here was
[04:00:52] actually the
[04:00:54] materials that um that I've created you
[04:00:58] can see as I move in and let me make the
[04:01:01] viewport a little bit bigger as I move
[04:01:04] in the materials themselves are pretty
[04:01:06] simple right pretty
[04:01:08] simplistic
[04:01:09] but they have fingerprints and they have
[04:01:13] have small scratches I really hope that
[04:01:17] this is being picked up
[04:01:20] by do you see them here that I really
[04:01:23] hope that this is being picked up by
[04:01:24] YouTube and it's not just sacrificed to
[04:01:29] uh the the
[04:01:31] the optimization so you
[04:01:33] say oh maybe maybe here it's a little
[04:01:37] bit better right all of the different
[04:01:39] scratches and so on they just kind of
[04:01:42] ramp up and they add up to make the
[04:01:46] whole Space feel a little bit more a
[04:01:49] little bit more natural right and the
[04:01:53] way that's achieved is uh by just
[04:01:56] creating
[04:01:57] more um adding more textures to rather
[04:02:01] than one to the roughness map of the
[04:02:04] material speaking of which um let's now
[04:02:08] jump back to to to to our project and
[04:02:13] let me show you how you can make a
[04:02:16] custom material with textures because
[04:02:20] that's I believe quite an important
[04:02:22] thing to
[04:02:26] know so creating materials in Unreal
[04:02:30] Engine or creating texture based
[04:02:32] materials in Unreal Engine is not that
[04:02:34] hard actually you just need to know need
[04:02:37] to know a few tricks so under my
[04:02:40] materials tab materials folder Master
[04:02:43] fold folder I'll create a new material
[04:02:46] and I'll call it uh texture
[04:02:50] Master something like
[04:02:52] that or in this case it's going to be my
[04:02:55] painting Master material so I'll just do
[04:02:58] F2
[04:03:00] painting
[04:03:02] Master like that double click on it and
[04:03:06] we're again presented with this node
[04:03:08] editor right for for material
[04:03:10] creation to create a painting all I will
[04:03:15] need is a base color and a little bit of
[04:03:18] shine right so it's it will need to be a
[04:03:21] little bit shiny nothing else really is
[04:03:24] needed here I mean we could use a small
[04:03:27] bump in the normals but for now let's
[04:03:30] just keep it simple so to add texture as
[04:03:33] your base color you use a texture sample
[04:03:37] node texture sample like
[04:03:41] that and connect the RGB color to the
[04:03:44] base color like
[04:03:46] so then for the UVS this is how much the
[04:03:51] texture is repeated you will need to
[04:03:54] extract the texture coordinates of the
[04:03:57] object on which you're mapping right so
[04:04:00] we will use
[04:04:02] texture
[04:04:05] coordinate okay uh we get the texture
[04:04:08] coordinates now we need to know how many
[04:04:11] times it needs to repeat it's actually
[04:04:13] very simple simple you drag out from
[04:04:14] texture coordinates and you multiply so
[04:04:18] use multiplication you
[04:04:20] multiply by a number and whatever this
[04:04:24] number is is how many times the texture
[04:04:26] is going to be repeated so I'm going to
[04:04:28] create
[04:04:29] a uh
[04:04:32] constant value I'll right click on it
[04:04:34] convert to parameter and call it um UV
[04:04:42] tiling UV iling how many times does it
[04:04:45] repeat and connect it to B my UV tiling
[04:04:48] the default value should be one right it
[04:04:52] just just slaps on the texture does not
[04:04:55] repeat it at all then slider minimum
[04:04:58] should be like 0.01 and slider maximum
[04:05:02] like 100 so it can be stretched out 100
[04:05:05] times it can be cramed in 100 times
[04:05:09] right so once this is done we have our
[04:05:11] multiplied texture coordinates and we
[04:05:13] just connect them to UVS and that's that
[04:05:17] now we have successfully created our
[04:05:20] texture sample node um for this to work
[04:05:24] properly uh and not give us this nasty
[04:05:27] error it needs to have at least one
[04:05:30] texture uh well not at least one but it
[04:05:33] needs to have a texture associated with
[04:05:35] it or else it's going to be you know
[04:05:37] always angry at us um and to do so we
[04:05:41] will download a texture from the
[04:05:44] internet which I already did it's I just
[04:05:48] found a picture like a painting of
[04:05:51] malevich from malevich on Google and I
[04:05:56] have downloaded it to the desktop the
[04:05:59] way you import textures into unreal is
[04:06:02] you just drag and drop them
[04:06:04] in as easy as that right so now we have
[04:06:08] our painting uh of malevich right here
[04:06:12] and I will just by having texture sample
[04:06:15] selected I'll drag it over to the
[04:06:18] texture slot right
[04:06:20] here
[04:06:22] bam now the texture is applied to the
[04:06:26] sphere in terms of
[04:06:30] the what if you want to be able to
[04:06:33] change the textures at run time meaning
[04:06:36] uh do you need to create different
[04:06:38] painting Masters for different paintings
[04:06:40] no that's the reason why we are creating
[04:06:42] a master the this needs to be a variable
[04:06:45] to make it into a variable you just
[04:06:46] right click on the texture uh sample
[04:06:49] node and you choose convert to parameter
[04:06:52] as per usual and you just call it
[04:06:56] albo or diffuse whatever you want to
[04:06:59] call it something like that now in terms
[04:07:03] of the specularity of the
[04:07:09] uh material uh we might want to change
[04:07:13] change it Tye a notch so for the
[04:07:15] roughness I will create a
[04:07:18] constant constant
[04:07:20] value and I'll give it a number of maybe
[04:07:24] this is going to be static so I'll just
[04:07:26] give it a number of
[04:07:29] 0.2 or actually yeah let's connect it to
[04:07:33] roughness something like that you can
[04:07:35] see it becomes much more glossy almost
[04:07:37] like plastic and I will convert this to
[04:07:40] parameter and call it roughness
[04:07:44] and say that minimum value is zero
[04:07:47] maximum value is one so the roughness
[04:07:49] goes between zero and one that's it
[04:07:51] that's all we need for this painting
[04:07:54] material I'll save
[04:07:57] this close
[04:08:01] this and then I will create a material
[04:08:05] instance of my master material like
[04:08:08] so call it painting
[04:08:11] one drag that painting one back into the
[04:08:15] material slot right here just so that we
[04:08:18] have all of the instances in one place
[04:08:20] and drag and drop it
[04:08:22] onto the painting here
[04:08:26] right so now in terms of the
[04:08:29] reflectivity of the
[04:08:32] painting I can control it manually and
[04:08:37] also if I want to
[04:08:39] change the albo color to something else
[04:08:43] uh um I don't know noise mask or
[04:08:46] whatever you know to some other texture
[04:08:48] I can easily switch uh to any texture
[04:08:52] that I
[04:08:53] want uh either from this drop down box
[04:08:56] or by just drag and dropping in the
[04:08:58] texture here right and it immediately uh
[04:09:01] changes so that's very nice the
[04:09:04] roughness we can increase or decrease
[04:09:07] the roughness to make it glossy I would
[04:09:10] say 0.4 is probably a good bet for paper
[04:09:16] and then UV tiling is uh how many times
[04:09:20] does it repeat
[04:09:24] right so I will keep it at one I don't
[04:09:28] need you know that that famous
[04:09:33] um Campbell soup
[04:09:35] painting
[04:09:37] um I'm getting tired again I
[04:09:41] guess never mind um we could add a
[04:09:44] rectangular light here just to make it
[04:09:47] pop a bit more but I I think that the
[04:09:50] way the light hits it it's nice so I
[04:09:53] won't be adding any artificial lighting
[04:09:55] here all right so that's the painting um
[04:09:58] and then that's how you create a simple
[04:10:00] material you know with just the diffuse
[04:10:03] and a locked in color if you want a more
[04:10:06] complex one then you would use the
[04:10:07] texture sample for the roughness texture
[04:10:10] sample
[04:10:11] for other stuff okay okay that concludes
[04:10:14] our material creation Now how do you
[04:10:18] import geometries from the
[04:10:24] internet I have downloaded this um
[04:10:29] branches in bases model from CG Trader
[04:10:32] they have a lot of free models there so
[04:10:35] you can just get them and I've
[04:10:36] downloaded the fbx
[04:10:39] file so let me close that and show you
[04:10:44] here we
[04:10:45] go wait one second let me extract it
[04:10:55] first there we go so that's uh what we
[04:10:59] get once we extract the fbx file right
[04:11:03] or sorry the zip file that we have
[04:11:05] downloaded so now under geometry I will
[04:11:08] create a new folder and call it
[04:11:11] assets like downloaded assets
[04:11:14] and here I will just create a again a
[04:11:17] folder or maybe we can uh I never tried
[04:11:21] this give me a second if this works that
[04:11:24] would be
[04:11:25] nice so I have okay that seems like it's
[04:11:29] going to work so I'm going to show
[04:11:32] you
[04:11:34] o clear clear
[04:11:37] clear
[04:11:41] close okay delete that so let sorry so
[04:11:46] let me try again and this time explain
[04:11:49] what I'm doing so instead of um just
[04:11:53] drag and dropping everything you can
[04:11:55] drag and drop the whole folder and I
[04:11:58] will not be doing that so you can just
[04:12:01] drag a folder and it's going to create a
[04:12:03] folder for you not going to be doing
[04:12:04] that I'll create a new folder and call
[04:12:06] it
[04:12:08] vases
[04:12:10] vases and I will dragon drop all of the
[04:12:14] files into my pases
[04:12:17] folder like that it basically asks me a
[04:12:20] bunch of questions the things that I
[04:12:22] want is to build nanite so that it
[04:12:24] optimizes quite well I'm not sure about
[04:12:27] the scale so I'm going to keep it the
[04:12:29] way it is create new materials sure um I
[04:12:33] do want the materials for this
[04:12:35] particular object to be created uh
[04:12:38] preemptively and everything else seems
[04:12:40] to be actually quite okay so I'll just
[04:12:42] hit hit import all the only thing that I
[04:12:45] changed build nanite import
[04:12:48] all let's give it a second and it's
[04:12:51] going to import everything and depending
[04:12:53] on from where you're downloading your
[04:12:55] assets uh it might be a very long and
[04:12:58] tedious task TDS task to fix them or it
[04:13:02] can be very pleasant and very fast and
[04:13:05] nice in this case uh seems like we have
[04:13:09] six
[04:13:10] errors um found texture name Clash name
[04:13:14] Clash can be wrongly reassigned and
[04:13:16] repport texture with bark V Fus
[04:13:20] plant and no smoothing group information
[04:13:23] that's not that bad that's
[04:13:27] okay all right so
[04:13:31] now we start assembling them and let's
[04:13:34] go to the banana Place uh right here let
[04:13:37] me save everything first because this
[04:13:40] might become a little bit tedious
[04:13:43] um and let's take a look at where do we
[04:13:47] start perhaps with the vase so I'm just
[04:13:51] going to take this one for instance the
[04:13:54] static mesh here and drag and drop it in
[04:13:57] the scale is definitely
[04:13:59] off and not just the scale also the
[04:14:02] nanite is really not having it right now
[04:14:07] so we will need to fix a few things the
[04:14:09] first thing that I want to fix is the
[04:14:13] shading right the shading here is
[04:14:15] because we're using R Trace shadows and
[04:14:18] we're also using nanite so it's I hope
[04:14:21] that it might play along well it doesn't
[04:14:23] so I'm going to right click on this
[04:14:26] phase nanite and I'll disable
[04:14:30] it right once I've done that the shading
[04:14:33] is fine now on to the size well the size
[04:14:36] is pretty simple to fix right we just
[04:14:39] take the scale and we probably it's
[04:14:42] going to be 0.1
[04:14:45] right seems like 0.1 is very small
[04:14:49] though so we'll need to kind of play
[04:14:52] around with this number to to to get the
[04:14:54] scale
[04:14:55] going maybe something like
[04:14:59] that usually these things uh import
[04:15:03] quite well in this case they didn't so
[04:15:06] it is what it is it is what it is okay
[04:15:10] so we have our uh one of our vases
[04:15:16] vases uh in here now to get a branch
[04:15:20] in just drag and drop it in
[04:15:24] again no idea oh there it
[04:15:27] is there it is again the shading issue
[04:15:32] uh is is still here so I'll disable
[04:15:35] nanite for the
[04:15:37] branch now it's fine I will rotate it
[04:15:48] 90° there we go and I will use a similar
[04:15:51] scale factor as what I'm using for the
[04:15:53] vas 0.23 so here
[04:16:00] 0.23
[04:16:02] right so like
[04:16:06] this let's move it in place
[04:16:15] take a look that intersects we don't
[04:16:18] like that we might need to lift it a
[04:16:24] bit or
[04:16:27] maybe just
[04:16:29] maybe it actually needs to hook hook up
[04:16:34] through
[04:16:34] here so there's a little bit of
[04:16:37] shenanigans that we need to do to make
[04:16:39] this work but seems like we're yeah
[04:16:42] we're on it we're on it this is going to
[04:16:45] work okay now in terms of the materials
[04:16:48] you can see here when I select the vas
[04:16:51] it tells me material 9 2 3 42 that's the
[04:16:54] material that it's using here's the
[04:16:56] material I can double click on it open a
[04:16:59] type and I can see that it's a very very
[04:17:01] boring material right it's just
[04:17:05] gray uh if
[04:17:07] I would you like to apply the changes no
[04:17:10] I don't and for this branch
[04:17:13] the material is even worse right really
[04:17:17] ugly names so first thing that I'm going
[04:17:19] to do is I'll rename this materials to
[04:17:21] something more decent F2 to rename and
[04:17:24] I'll call this
[04:17:27] Branch
[04:17:30] material like that and for my
[04:17:34] Bas uh
[04:17:36] 9342 this one I'll call this V
[04:17:41] material and and I will not have them as
[04:17:44] material instances because this is just
[04:17:46] going to be a single type of object here
[04:17:48] so I don't need to instance it instance
[04:17:51] the material so I'm just going to have
[04:17:53] them kind of brute forced in onto the
[04:17:57] geometry Without Really uh creating like
[04:18:00] proper instances or anything like that
[04:18:02] right so first let's fix the vas
[04:18:06] material the thing that I'm looking at
[04:18:09] right now or trying to figure out is
[04:18:13] which one is with which I assume the
[04:18:16] base color here I can just dra oh by the
[04:18:18] way you can just drag the texture in
[04:18:21] into your material slot like that and
[04:18:24] it's going to create a texture
[04:18:26] sample uh so I assume if I just connect
[04:18:29] it like
[04:18:31] so and hit
[04:18:33] save that should work
[04:18:38] right yeah okay that seems to be working
[04:18:42] quite well so we have a little bit of
[04:18:45] glazing going on on our
[04:18:48] vas then the next one is going to
[04:18:51] be
[04:18:53] roughness
[04:18:55] okay drag and drop slap it onto
[04:18:59] roughness or connected to roughness you
[04:19:01] do need to save every time to see the
[04:19:04] change in the material
[04:19:07] performance so now roughness is applied
[04:19:10] okay the ink became less
[04:19:14] reflective oh that's the base
[04:19:17] color oh sorry that's vas number two
[04:19:20] which one are we dealing with here is
[04:19:22] this V number three or V number
[04:19:28] two I yeah that that's always an issue
[04:19:32] isn't
[04:19:33] it uh was
[04:19:40] one I assume that
[04:19:50] this well we can always easily just uh
[04:19:53] switch them up and see which one looks
[04:19:55] the best so let's see vas two how does
[04:19:59] that look
[04:20:00] like
[04:20:03] save that looks nice uh what about vest
[04:20:11] three how does that look
[04:20:17] like did we switch oh we didn't my bad
[04:20:21] save
[04:20:24] that okay so vast three is the simplest
[04:20:27] one uh I should remove the roughness to
[04:20:31] actually see yeah vas three is the
[04:20:33] simplest one so I would say vas two uh
[04:20:37] looked the best so I'm going to use
[04:20:41] that that it's like as long as it looks
[04:20:45] good you don't really care if it's the
[04:20:48] correct material or not this seems to be
[04:20:52] quite like tiling quite well so I'm
[04:20:55] going to keep it uh like that okay which
[04:20:58] means uh vas two uh we're using the
[04:21:02] normal uh or or sorry the roughness of
[04:21:05] vas
[04:21:08] two and we're also going to use the
[04:21:11] normal of was
[04:21:16] 2 you can see that it automatically
[04:21:19] switches to Virtual normal here by the
[04:21:21] way hit
[04:21:24] save will this look natural it
[04:21:29] should
[04:21:36] oh is the normal too strong
[04:21:44] the normal seems like it might be a
[04:21:46] little bit too strong so to
[04:21:50] um make it less uh you can always just
[04:21:53] take the RGB values and multiply them by
[04:21:57] 0 five or
[04:22:00] so connect them like like that
[04:22:15] yeah that that seems a little bit better
[04:22:18] yeah there we
[04:22:19] go okay so now with this done and this
[04:22:24] this looks very cool here I I love the
[04:22:28] the grid
[04:22:32] effect I wonder if the grid effect is a
[04:22:35] part of it though let's open up the
[04:22:38] normal yeah yeah yes it is yes it is
[04:22:40] okay that's good that's good um so
[04:22:45] that's the vas then for
[04:22:47] the save that close that then for the
[04:22:51] actual Branch let's scroll down find
[04:22:55] our Branch material open it up it's
[04:22:59] going to be the same process right wood
[04:23:04] bark wood bark uh I guess that's going
[04:23:09] to be the
[04:23:10] roughness is there going to be like
[04:23:21] a these two and then we have these okay
[04:23:24] so first we need to check if base
[04:23:28] color if that even looks natural on here
[04:23:32] or if we're using the correct wood bark
[04:23:35] rather how does that wrap around
[04:23:42] but that looks that looks like it's
[04:23:45] wrapping around
[04:23:55] correctly one
[04:23:58] second oh no never
[04:24:01] mind um I'm not going to explain this
[04:24:04] but basically this texture is the
[04:24:07] correct texture so if I add this texture
[04:24:11] here now that wraps around really well
[04:24:15] okay uh so that's
[04:24:18] our bit map or or diffuse now this is
[04:24:22] going to be our
[04:24:27] roughness I really want to have two
[04:24:30] screens when I'm doing this I hate it
[04:24:33] absolutely hate
[04:24:34] it but it is what it is and then we have
[04:24:38] the bark
[04:24:40] right that's a normal map
[04:24:44] okay so if I save this and I will
[04:24:47] immediately close it because it's way
[04:24:49] too much you can see how simple it is
[04:24:51] right you're just drag and dropping in
[04:24:53] the textures that you have
[04:24:57] downloaded yeah that looks good that
[04:24:59] looks good so we have ourselves a little
[04:25:02] little tree situation going on here if
[04:25:06] you want more you can always just make a
[04:25:09] copy of this rotate it
[04:25:15] it you know something like
[04:25:19] that perhaps like
[04:25:23] that move it in place to the place
[04:25:32] rather now we have two two of them I
[04:25:36] think two is too much though so I'm
[04:25:38] going to delete that one is fine one is
[04:25:41] fine uh okay so that is how you can
[04:25:44] download stuff from the internet texture
[04:25:47] it with the materials that come with it
[04:25:50] and use use the assets from the internet
[04:25:53] with that being said most of the stuff
[04:25:55] um quicksell does have so you don't
[04:25:58] really need to um unless it's some sort
[04:26:02] of a designer furniture that you're
[04:26:04] trying to get um get into your your your
[04:26:08] scene
[04:26:10] right I think with this this we are
[04:26:13] ready to start
[04:26:16] rendering so let's let's do that let's
[04:26:19] uh let me show you how you can render
[04:26:21] out your
[04:26:26] scene okay so before we renders things
[04:26:29] out we kind of want to address
[04:26:32] the warmth of our scene I think it's a
[04:26:35] little bit too warm so we're going to do
[04:26:38] like last minute adjustments with the
[04:26:42] what it called the post processing
[04:26:44] volume right here so in post processing
[04:26:48] volume I'm going to find
[04:26:51] temperature temperature uh I'll enable
[04:26:55] it and for our temperature I will just
[04:26:57] drop it down considerably maybe not that
[04:27:01] much not by that much but like um down
[04:27:05] to 4,000 something like that this will
[04:27:08] just um make sure that the stuff that we
[04:27:13] see is not
[04:27:16] overly um orange
[04:27:20] right we don't we don't want it to be
[04:27:24] orange okay let's go back in
[04:27:27] here is 4,000 too
[04:27:30] much maybe uh before we dial this one in
[04:27:36] I I want to do one more thing um I will
[04:27:40] go into
[04:27:43] the the lights uh environment lighting
[04:27:46] that I have and I'll adjust the fog
[04:27:50] because the fog that is being used here
[04:27:53] is a little bit too blue it has that
[04:27:56] kind of ugly bluish tint very synthetic
[04:27:59] very um that typical how do you call
[04:28:04] it um CGI fog so to I I don't want it so
[04:28:09] to get rid of it I will go in in here
[04:28:13] and I'll find volumetric fog uh tick box
[04:28:17] and I'll tick it and once I tick The
[04:28:20] volumetric Tick box you can see that
[04:28:23] that bluish tint disappears and now the
[04:28:26] fog is calculated
[04:28:29] through uh the the the as a volume this
[04:28:32] hits the performance a little bit but it
[04:28:35] should be a little bit nicer um and a
[04:28:38] little bit more realistic if you want
[04:28:40] more fog you can always increase it I
[04:28:43] tend to not have as much uh and then if
[04:28:47] you want it to be quite low uh to the
[04:28:50] ground you just increase the fall off
[04:28:54] those are honestly the two the main two
[04:28:57] things that that we change um you can
[04:29:00] have God Rays you know those kind of
[04:29:02] nice beams of light that are shining
[04:29:05] through the trees um in andreal engine
[04:29:09] but then you would need to sacrifice the
[04:29:13] Shadows the how is it called the rrac
[04:29:16] shadows for that right and in my opinion
[04:29:20] a tradeoff of not having R raced Shadows
[04:29:23] versus having
[04:29:25] the beams of light that's a bad tradeoff
[04:29:29] so we're sticking to this right to to to
[04:29:33] this um if you do want the r race
[04:29:36] Shadows or sorry if you do want the
[04:29:39] beams of light then with uh volumetric
[04:29:41] for
[04:29:42] you would uh go to your directional
[04:29:44] light which is the Sun and you would
[04:29:47] type in Ray and you would disable cast
[04:29:50] rrac
[04:29:52] shadows and then if you don't see it
[04:29:54] just increase the uh volumetric
[04:29:56] scattering in intensity to like 100 and
[04:29:59] then you're definitely going to see it
[04:30:02] okay um I will not be doing that though
[04:30:06] so now with this fog here I think we're
[04:30:09] very close
[04:30:12] with
[04:30:14] our warmth with our temperature this
[04:30:17] looks natural this looks
[04:30:21] good this is
[04:30:26] okay yeah and this looks good okay we
[04:30:29] nailed it we nailed it the first time uh
[04:30:32] the first try sorry so now actually
[04:30:35] let's save this and let me talk about
[04:30:38] how you can export things so an
[04:30:40] important thing is that that when you're
[04:30:43] exporting or when you're rendering out a
[04:30:45] still image from Unreal Engine it's as
[04:30:48] if you're rendering out a single frame
[04:30:50] from a video you have that in have that
[04:30:53] kind of a mindset right so it's a purely
[04:30:56] video based rendering engine and if you
[04:30:59] want a single render you're rendering a
[04:31:01] single frame from a W uh video to set it
[04:31:04] up properly uh you first need to set up
[04:31:07] the camera movements and Camera
[04:31:09] positions we already have the camera
[04:31:10] positions but what did do the cameras do
[04:31:13] over time and that is
[04:31:15] controlled uh by creating um is it here
[04:31:19] one second okay we're back it
[04:31:22] crashed um but it it's my fault it's my
[04:31:25] fault I decided that I'm going to be
[04:31:28] smart about it and start downloading
[04:31:30] things um or start unloading the videos
[04:31:34] that I have already recorded into hard
[04:31:36] another hard disk so it just couldn't
[04:31:38] handle it anyway sorry about this so I
[04:31:42] was talking about level sequencer right
[04:31:45] level sequencers are objects or actors
[04:31:49] in your level that control animation of
[04:31:53] anything including cameras and you can
[04:31:56] drive uh your animation export by
[04:32:01] creating first an uh level sequencer and
[04:32:04] then
[04:32:05] using I forgot the name
[04:32:09] window cinematics movie render cu to
[04:32:12] render it out and that's the process
[04:32:14] that we're going to be using so first of
[04:32:16] all we need to create a level
[04:32:19] sequencer to do the to do so uh I will
[04:32:22] right click in my levels folder here I
[04:32:24] will right click and I'll choose new
[04:32:27] folder that and I'll just call it
[04:32:31] uh building
[04:32:34] one sequences or
[04:32:37] seq double click on that right click and
[04:32:41] here we need need to find cinematics
[04:32:43] level sequence this bad boy right here
[04:32:47] click on it uh let's call this
[04:32:53] exterior
[04:32:55] closeup exterior
[04:32:59] closeup and let's or actually let's do
[04:33:03] exterior
[04:33:05] uh far first the camera that's far away
[04:33:09] in the uh and is looking at the fac
[04:33:12] let's do that first so we are creating
[04:33:14] we have created a level sequence that is
[04:33:17] called exterior far I double click on it
[04:33:19] it opens up a new tab so now I have
[04:33:21] content browser environment light mixer
[04:33:23] and sequencer tab tabs right here and
[04:33:26] this one is called exterior
[04:33:30] far right and uh let me become placed
[04:33:35] here now and also let me make this a bit
[04:33:39] smaller
[04:33:43] there we go something like that so with
[04:33:47] this sequencer we can uh add a new track
[04:33:51] like a new animation track so that's the
[04:33:54] first thing that you always do add an
[04:33:55] animation track and you need to find
[04:33:58] what describe what is it that you will
[04:34:01] want to do uh the thing that we're going
[04:34:04] to do is going to be called camera cut
[04:34:07] track so it's going to be a bunch of
[04:34:09] cameras in our case I'm going to do an
[04:34:12] a separate sequence for separate cameras
[04:34:15] but you could do it for all of them at
[04:34:17] the same time in one uh within one
[04:34:21] sequencer camera cut track we do this
[04:34:24] camera
[04:34:25] Cuts uh this track is created and to it
[04:34:29] we can add a camera click shows you all
[04:34:33] of the cameras that you have and I
[04:34:35] believe mine is called uh the far throw
[04:34:38] camera is called Cinema Camera actor
[04:34:40] zero I click on
[04:34:42] it bam it's added in great so now now
[04:34:49] what now it well first of all we need to
[04:34:52] actually look through the camera to know
[04:34:54] how it's being animated right so I'm
[04:34:56] going to click on this
[04:34:59] um button here lock Cinema Camera actor
[04:35:04] zero to selected
[04:35:05] viewport and now we're looking through
[04:35:08] the camera right it's the same thing as
[04:35:10] piloting the camera basically
[04:35:12] we're we're yeah at this point we're
[04:35:14] piloting the camera um I still see you
[04:35:19] know like
[04:35:20] a camera there and like a bunch of crap
[04:35:24] here that I don't want to see so I want
[04:35:27] to switch from default viewport into
[04:35:30] cinematic viewport and click that Cinema
[04:35:34] Camera actor button
[04:35:36] again now we will not see any kind of I
[04:35:41] cons or anything like that it's going to
[04:35:43] be much much
[04:35:45] cleaner all right now in terms of the
[04:35:48] range uh we need to describe how long
[04:35:52] our animation for this camera is going
[04:35:54] to be so here you can see that our range
[04:35:58] is described as
[04:36:00] 150
[04:36:04] um um frames 150 frames 165 frames of
[04:36:09] working range and 150 of uh playback
[04:36:12] range so if you want to make it smaller
[04:36:15] all you need to do is just drag it back
[04:36:19] uh sorry you drag back the red the red
[04:36:22] line right up to the range that you want
[04:36:26] so what is it that we want uh how long
[04:36:29] should how many frames do we want to
[04:36:30] render out well that depends on the
[04:36:33] length of the video in this case um
[04:36:36] first of all we need to
[04:36:37] describe how many frames per second will
[04:36:40] we want what's the frame rate
[04:36:42] Cinema uses 24 uh so we're going to use
[04:36:46] 24 instead of 30 that's written
[04:36:50] here 24 FPS if you want it very smooth
[04:36:55] you can do 60 FPS but that will just
[04:36:57] require you know more frames to be
[04:36:59] rendered and we don't have time for that
[04:37:01] so 24 frames per second for the
[04:37:04] Cinematic look
[04:37:06] right then um we just need to multiply
[04:37:10] right so 4 * 24 is
[04:37:14] 96 um so
[04:37:16] 120 frames would be 5 Seconds
[04:37:20] right something like that so I'm going
[04:37:23] to say that my range goes up
[04:37:28] to from zero up to
[04:37:31] 120 20
[04:37:35] frames it's strange that this one is
[04:37:37] still saying uh 150 it should say
[04:37:45] 120 yeah cuz it stops at 120 um doesn't
[04:37:49] doesn't really matter we're we're fine
[04:37:50] with that uh as long as your range here
[04:37:53] is from zero until 120 that's how many
[04:37:56] frames you're going to be
[04:37:58] getting all right now how do you create
[04:38:02] animations you know how do we move the
[04:38:04] camera around well to do so you need to
[04:38:07] add what's called a
[04:38:09] track um so anything that you animate
[04:38:12] needs to be done so in a track of its
[04:38:15] own so for the cinema camera actor zero
[04:38:18] I'll add a track I'll say that it needs
[04:38:21] to be a transform track because movement
[04:38:23] rotation scal is Transformations click
[04:38:26] on that this new track is added if I
[04:38:30] expand it you can see location rotation
[04:38:32] scale we have these and for location we
[04:38:35] have XY Z location okay before we start
[04:38:40] messing it up let's go to frame
[04:38:44] zero and let's describe um or rather
[04:38:47] let's create
[04:38:49] um key point or or key frame at frame
[04:38:55] zero to do so you just first of all go
[04:38:58] to frame zero and then click let's say
[04:39:02] is it y AIS sorry yeah it's y- axis
[04:39:05] contrl Z so for the y- axis I'll just
[04:39:08] click on this add new key at current
[04:39:13] time like that and this little dot is
[04:39:17] created right so now it knows that at
[04:39:20] this Frame it needs to be
[04:39:22] exactly here right then we go all the
[04:39:27] way to the end right
[04:39:29] here and we will move the
[04:39:37] camera actually I kind of want to move
[04:39:40] it to
[04:39:42] the opposite side
[04:39:48] who something like
[04:39:51] that and we just uh if you have this um
[04:39:57] button highlighted that means it's going
[04:39:59] to automatically add the key frame if
[04:40:01] you don't have this highlighted then you
[04:40:02] might want to click that button here so
[04:40:06] what we initially did was this
[04:40:09] animation right so slow
[04:40:12] moving very casual
[04:40:17] animation um notice how uh the speed of
[04:40:22] movement the panning speed ramps up so
[04:40:25] it's not
[04:40:27] smooth or rather it's smoothly ramping
[04:40:30] up and then ramping down it's not
[04:40:32] constant is what I meant right if you
[04:40:35] want it to be constant you need to right
[04:40:37] click on the key frames on these little
[04:40:40] red icons here you right click on them
[04:40:42] and you choose
[04:40:44] linear linear here linear here now the
[04:40:51] movement is going to be
[04:40:55] constant right it's starts with 100% of
[04:40:58] the speed okay so this one I kind of
[04:41:01] want it to be a little bit more towards
[04:41:06] here something like that it should
[04:41:09] automatically override whatever was
[04:41:10] before for it if you have this
[04:41:13] highlighted yeah that seems to be good
[04:41:17] is it too fast though that might be a
[04:41:20] little bit too fast so we could either
[04:41:22] make it longer or we could decrease the
[04:41:26] Gap right that needs to travel I'm
[04:41:29] thinking of the Gap decrease so at 120
[04:41:35] frames perhaps we don't go that
[04:41:39] far something like that this okay that's
[04:41:43] how we add camera movement you can also
[04:41:45] add stuff like focus defocus and so on
[04:41:49] I'm going to show you in another
[04:41:51] sequence here so this one is done uh I
[04:41:54] will save
[04:41:56] it uh how do we save
[04:41:59] this save there we go we we saved this
[04:42:03] here and we we we call it good let's
[04:42:06] create one more and then other two I
[04:42:08] will uh skip ahead right because it's
[04:42:11] just a repetition so under content
[04:42:13] browser I will create
[04:42:18] another uh image image sequencer
[04:42:22] hello cinematics level sequencer not
[04:42:26] image exterior or do we do
[04:42:34] interior perhaps
[04:42:41] let's do
[04:42:42] interior
[04:42:45] closeup let's do the Buns okay so
[04:42:50] interior
[04:42:51] closeup we take that right we're still
[04:42:54] piloting the the camera but that's fine
[04:42:56] we will switch now uh you can see that
[04:42:59] now uh this sequencer opens up uh is
[04:43:02] opened up with a new interior closeup
[04:43:05] rather than exterior far uh so we need
[04:43:08] to add another track uh camera cut track
[04:43:11] that's typical add a camera I don't
[04:43:14] remember which one one second I need to
[04:43:19] check is it number two no is it number
[04:43:24] one no it's number three yep okay so we
[04:43:28] add a camera camera number three right
[04:43:32] here we're tracking
[04:43:34] it looks
[04:43:38] nice that's pretty pretty pretty good
[04:43:42] food right here let's do a little bit of
[04:43:47] of of movement here and changing of the
[04:43:49] Focus
[04:43:51] right so for the movement I will add
[04:43:55] another track and call
[04:43:58] it uh uh
[04:44:02] um or sorry we we first need to describe
[04:44:05] frames per second 24 and the maximum
[04:44:09] range so I'll increase the maximum range
[04:44:12] uh
[04:44:13] to we did like 5 seconds for the last
[04:44:17] one so let's
[04:44:19] do like 7 seconds for this one I
[04:44:23] guess yeah let's do 7 seconds so 7 *
[04:44:34] 24 168
[04:44:37] okay oh so this should be enough okay
[04:44:40] one
[04:44:43] uh oops never never do
[04:44:47] that
[04:44:49] 168 that's the necessary
[04:44:52] range there we go uh so it starts at
[04:44:55] zero and it's going to end
[04:44:59] at or or should
[04:45:04] end like 168
[04:45:13] oh that's
[04:45:18] 169 there we go like that and I will
[04:45:21] also of course extend this to until 168
[04:45:25] like
[04:45:26] so okay with this
[04:45:31] done with this done now we can start
[04:45:34] adding
[04:45:38] tracks so first of all transformation
[04:45:43] transform track and we will be using
[04:45:48] location and perhaps rotation I'm not
[04:45:51] sure uh first let's do the location
[04:45:53] though so for this I am going
[04:45:58] to get the 0 00 0 coordinate and I'm
[04:46:02] just going to move the Z axis
[04:46:12] something like
[04:46:14] this and click on
[04:46:17] the add key frame
[04:46:20] icon and then let's say at 120 it should
[04:46:25] already arrive at the
[04:46:27] Buns so at 120 it goes down down down
[04:46:32] down down down
[04:46:34] down and Bam snaps into and then shows
[04:46:39] the Buns let's take take a look at how
[04:46:41] this plays plays
[04:46:45] out that's too fast that's way too fast
[04:46:49] we don't have
[04:46:50] the
[04:46:54] um we don't have the the frames to do so
[04:46:57] so instead we're going to do
[04:47:00] this
[04:47:03] play uh needs to start full blast so
[04:47:07] that's going to be
[04:47:08] linear but then needs to smoothly
[04:47:14] stop that that's not bad that's not bad
[04:47:17] okay and it kind of just stays there
[04:47:20] right or maybe it does not just stay
[04:47:23] there rather it get goes to here and the
[04:47:28] framing is a little bit just a little
[04:47:30] bit
[04:47:32] off and then at until the last frame
[04:47:41] come on
[04:47:43] 68 oh we're at 69 uh nice um that's fine
[04:47:48] uh until the last frame it goes even
[04:47:51] further down like
[04:47:54] that and then this needs
[04:47:57] to let's just
[04:48:02] see so as you can see this is a lot of
[04:48:06] just trial and
[04:48:09] error okay
[04:48:15] perhaps a little bit faster
[04:48:21] here okay so let let's say this is fine
[04:48:25] right now we are going to do a little
[04:48:28] bit of focus Shenanigans and to to get
[04:48:31] the camera focus and animate that we
[04:48:33] need another track right so our
[04:48:36] Transformations are done we need another
[04:48:38] track and that one is actually going to
[04:48:40] be coming from the camera component so
[04:48:42] all of the settings of the camera can be
[04:48:45] accessed through the camera component
[04:48:47] right here click on that we have the
[04:48:50] camera component and we add a track from
[04:48:53] the camera component that is going to be
[04:48:56] called Focus settings uh not offset
[04:48:59] manual focus
[04:49:01] distance this
[04:49:03] one we add
[04:49:05] that now uh we can animate man the
[04:49:09] manual focus distance so we know that at
[04:49:13] this Frame at the last frame it
[04:49:14] definitely needs to be in Focus so I'm
[04:49:18] going to just
[04:49:21] add a a key frame here and it needs to
[04:49:24] be in focus for a while right so I want
[04:49:27] it to be already in Focus
[04:49:31] here actually so something like that but
[04:49:35] then as it goes out to here I want the
[04:49:40] the ground to be in Focus so I'm going
[04:49:42] to just change the
[04:49:47] value something like
[04:49:50] that let's play let's
[04:49:55] see
[04:49:57] um okay uh the value that we have here
[04:50:02] needs
[04:50:04] to
[04:50:07] actually start
[04:50:11] the focusing up needs to start at around
[04:50:14] here once you already see the quason out
[04:50:18] of
[04:50:20] focus punches in there we go okay we are
[04:50:26] done with sequence number two now
[04:50:28] sequence number three and sequence
[04:50:29] number four I'm going to do those uh off
[04:50:33] camera and we will continue on from
[04:50:37] there all right we are ready to go
[04:50:41] there's one thing that I want to still
[04:50:43] show you before we
[04:50:46] start describing the settings for the
[04:50:48] rendering and that is going to be the
[04:50:51] light right now I have this kind of
[04:50:54] a
[04:50:56] animation play
[04:51:02] this I I just want to see how it's going
[04:51:05] to render out cuz I've never tried
[04:51:07] anything as intricate as this um
[04:51:11] and with this
[04:51:13] animation uh you can see that the light
[04:51:15] changes so how did I achieve that well
[04:51:18] actually I had to go and add another
[04:51:21] track that was called
[04:51:25] um one
[04:51:29] second where is
[04:51:32] it oh there we the first one of course
[04:51:35] actor to sequencer and here I had to
[04:51:37] find the directional um directional
[04:51:40] light right now I don't have it anymore
[04:51:41] because it's already added in and then
[04:51:44] once I uh found that I added the
[04:51:47] transform track to my directional light
[04:51:50] and from there on out it was just
[04:51:52] changing the rotation values and
[04:51:54] animating the rotation values right so
[04:51:57] that was pretty
[04:51:59] fun um so just keep keep an eye out that
[04:52:02] you can animate literally anything in
[04:52:05] this uh with this image
[04:52:07] sequencer so that's what we uh have here
[04:52:12] okay now with this done we have the four
[04:52:16] uh different Interiors or shots I guess
[04:52:21] uh God damn it sequence shots and now
[04:52:24] it's time to actually render them out so
[04:52:28] to do so we use a new tool that is
[04:52:30] introduced in Unreal Engine 5 I believe
[04:52:33] has been introduced and then real Engine
[04:52:35] 5 at least the stable version of it and
[04:52:37] you can find it through window cem
[04:52:40] matics movie render
[04:52:43] que this this will open up a new window
[04:52:46] movie render queue where you can add um
[04:52:52] tasks for it to render so you can add
[04:52:54] all four of these sequences to be render
[04:52:56] out one after the other a very very
[04:52:59] useful thing by the way so let's add it
[04:53:03] plus uh click the plus sign for the
[04:53:07] render and let's go with exterior far
[04:53:11] right that's that's going to be our uh
[04:53:15] job that we're going to be working
[04:53:17] on um movie render queue basically has
[04:53:21] all of the settings for rendering that
[04:53:23] you might need right so we will be uh
[04:53:26] adjusting these settings right here you
[04:53:28] don't need to change anything in the
[04:53:30] pipeline that's fine but for the
[04:53:32] settings we do need to make a few
[04:53:34] adjustments quite a few adjustments
[04:53:37] actually once you click on the settings
[04:53:39] here you can uh see the different
[04:53:43] um parameters that um are being used and
[04:53:47] I will touch upon the output in just a
[04:53:49] second but first uh keep in mind that
[04:53:51] you can add more settings to an already
[04:53:55] existing um setting list right so for us
[04:54:01] we want to add let's see uh antialiasing
[04:54:04] setting for
[04:54:06] sure an alas sying we want to add conso
[04:54:10] variables
[04:54:14] setting we want to
[04:54:21] add well if if you are familiar with exr
[04:54:27] uh working with exr images uh like
[04:54:31] higher bit depth images then I would
[04:54:33] suggest using exr sequence rather than
[04:54:36] JPEG but in my like for me I'm using
[04:54:39] jpegs for for this kind of a project
[04:54:43] right so I think that's this is going to
[04:54:45] be fine um so we have jpeg sequence we
[04:54:49] have so that's what it's going to be
[04:54:52] exporting uh rendering deferred
[04:54:54] rendering that's fine let's see if um
[04:55:00] disable yeah that's fine we don't need
[04:55:02] to change anything here antialiasing
[04:55:04] though we do need to change things so
[04:55:07] spatial sample count we keep this as one
[04:55:11] but for temporal samples we incre we
[04:55:14] need to increase this to 32 this will
[04:55:17] make it so if the product
[04:55:25] of yes uh so what this initially will do
[04:55:32] is it will bump up the a um
[04:55:35] anti-aliasing the stair stepping effect
[04:55:37] or elimination of stair stepping effect
[04:55:40] in in crooked lines it's going to
[04:55:42] eliminate it uh much better than what
[04:55:45] you see in the viewport but for this to
[04:55:48] work it even says so here in the uh
[04:55:52] warning uh you need to override the
[04:55:54] anti-aliasing of the project To
[04:55:59] None yeah then we uh need to render
[04:56:05] warm-up
[04:56:08] frames and for warm-up frame count I
[04:56:12] think 32 will be just fine so what it's
[04:56:15] going to do is the first 32 frames that
[04:56:17] it renders it's going to throw away it's
[04:56:20] just going to gather information about
[04:56:22] how things are moving how like how
[04:56:24] everything works right so uh you will
[04:56:28] not see a dip in quality at the start of
[04:56:31] your animation that this is quite
[04:56:34] important so do
[04:56:36] this then for console variables well
[04:56:42] unfortunately we will need to write some
[04:56:44] more console variables it's not going to
[04:56:47] be that bad um actually if you uh you
[04:56:51] can copy and paste from one website if
[04:56:55] we just Google movie render q and real
[04:57:01] Engine movie render q and real engine
[04:57:03] the doc files of it and we scroll down
[04:57:07] all the way to here exporting media
[04:57:09] using r R tracing these are the four
[04:57:14] um commands that you need to write so
[04:57:17] you just Google mve your render queue
[04:57:20] and uh you will quite easily find them
[04:57:23] right just keep in mind um and I'll I'll
[04:57:26] I'll do this right now I'll just copy
[04:57:29] and notice how I'm copying um only the
[04:57:33] first line and I'm I'm not copying the
[04:57:36] zero that's because um when I console
[04:57:39] variable when I add an element to
[04:57:42] console variables here I add the command
[04:57:45] line and here is the zero right so like
[04:57:49] that one
[04:57:50] more um where is it
[04:57:57] hello Global elimination accumulation
[04:58:00] that's going to be
[04:58:02] zero one more or rather two more I'll
[04:58:06] preemptively
[04:58:07] add okay I can't I need to to add it one
[04:58:11] by one
[04:58:12] unfortunately that's fine Reflections
[04:58:15] the noiser we turn that one off and this
[04:58:19] is basically us turning off um the the
[04:58:22] noising uh that's done with rracing nope
[04:58:25] that's the wrong button uh the noising
[04:58:28] automatic Den noising that's done with
[04:58:30] retracing just uh so that the
[04:58:33] anti-aliasing that the stuff that we do
[04:58:35] with like rra antialising that takes
[04:58:38] care takes care of with especially if we
[04:58:41] are going for high resolution High uh
[04:58:45] sample count okay so those are the D
[04:58:48] noiser
[04:58:49] settings um then
[04:58:53] for there's there's two more two more
[04:58:57] things that I want to add it's um or is
[04:59:01] it one let me think should I show you
[04:59:07] all uh retracing skylight the noiser
[04:59:10] those are
[04:59:12] fine yeah there's nothing more here okay
[04:59:22] so yep uh so I will just add one more
[04:59:28] variable right here and I'll call it
[04:59:32] R
[04:59:34] screen
[04:59:38] percentage 200
[04:59:40] what this will do is it will take the
[04:59:43] screen uh as it's rendering and it's
[04:59:45] going to increase the the the the screen
[04:59:49] to 200% so if your output is um let's
[04:59:54] say 1K or 2K then it's going to render
[04:59:58] out 4K and it's going to squish it back
[05:00:00] to 2K if your output is 4K then it's
[05:00:04] going to render out
[05:00:07] 4K and sorry 8K and is going to squish
[05:00:10] it back to uh 4K right so that that's uh
[05:00:15] this just bumps up the quality quite a
[05:00:17] bit it's also like it hits the ram a lot
[05:00:22] so be careful with this definitely save
[05:00:26] first before using this using this if
[05:00:29] this is crashing then just don't use it
[05:00:31] right okay so then we finally uh get to
[05:00:38] the um to this export or output settings
[05:00:42] tab uh where I can describe the output
[05:00:45] directory where I can describe the file
[05:00:47] name format and the resolution right um
[05:00:52] let's
[05:01:00] see yep okay so in terms of the output
[05:01:04] resolution we can uh we can write down
[05:01:07] any resolution that we want
[05:01:10] I personally uh would like it to be 4K
[05:01:14] but I'm scared of rendering out
[05:01:18] 4K um well maybe let's try YOLO 2160 4K
[05:01:24] and uh
[05:01:26] 3840 if I remember correctly right 3840
[05:01:29] by
[05:01:30] 21160 that's going to be our uh
[05:01:33] resolution and then for our output
[05:01:35] directory I'm just going to go for my
[05:01:37] rendering folder I'll call it new
[05:01:41] folder
[05:01:42] ue5
[05:01:45] output like
[05:01:48] that and perhaps new folder uh which
[05:01:53] scene is this this is going to
[05:01:54] [Music]
[05:01:56] be oh never mind it's uh it's going to
[05:01:59] create its own folder exterior far I'm
[05:02:01] I'm stupid uh so you U output right
[05:02:07] here yeah it's going to be sequence name
[05:02:10] do frame number that's
[05:02:13] good okay so with this
[05:02:17] done I think we're good to go so I'm
[05:02:20] going to save this preset that we have
[05:02:24] created right save save as
[05:02:28] preset I'm just going to save it uh in
[05:02:32] my let's go for Content sure or let's go
[05:02:37] to levels uh and sequences here
[05:02:40] and I'm just going to yeah sure just
[05:02:43] save it as my pipeline uh
[05:02:48] config okay with this done I hit accept
[05:02:52] and now I can click the render button
[05:02:55] which I'm scared to do because I'm also
[05:02:58] recording uh I should probably right I
[05:03:03] should oh one more thing before we
[05:03:05] actually crash our computers uh let me
[05:03:07] save all here
[05:03:10] uh let's go in to settings again and if
[05:03:15] you want to render out just a single
[05:03:17] frame then you can use custom playback
[05:03:20] range and you can describe you know I
[05:03:22] want to render out frame five and
[05:03:25] five uh or sorry five between five and
[05:03:28] six right so it's going to render out
[05:03:30] only the frame number five of your
[05:03:33] render uh so that's uh quite quite
[05:03:36] useful if you just need a still image
[05:03:39] usually you just just render out 0 0
[05:03:41] right the first
[05:03:42] frame anyway accept uh let's see render
[05:03:47] local let's see how this is going to to
[05:03:50] work task
[05:03:54] manager let's immediately looking at the
[05:03:58] performance oh yeah it's going to
[05:03:59] compile the
[05:04:01] shaders the graphics card is being hit
[05:04:04] almost
[05:04:06] fully Ram
[05:04:08] 22 uh gigabytes of RAM so it's not that
[05:04:15] bad CPU all course working okay that's
[05:04:19] that's actually not that bad and while
[05:04:21] it's calculating the shaders I don't
[05:04:23] want to waste anyone's time so I'm just
[05:04:25] going to stop the recording right now
[05:04:27] and I will start it again once it's
[05:04:30] done here we are uh so I did have to
[05:04:35] kill
[05:04:37] the the variable the 200%
[05:04:40] screen space variable simply because it
[05:04:43] uh yeah I would just use up all of my
[05:04:46] resources and it would just crash so
[05:04:50] apparently I can't render this out in 8k
[05:04:54] but I can render this out
[05:04:57] in 4k here's all
[05:05:01] the all the renders here so the
[05:05:05] rendering took um 30 minutes which is
[05:05:10] for an animation that's really not that
[05:05:13] bad and this is how it looks like I'm
[05:05:15] I'm of course I'm going to be
[05:05:20] um showing that the full animation once
[05:05:23] we're done but before before we can see
[05:05:27] the full animation we need to render the
[05:05:29] rest of it right so to render more than
[05:05:32] one job first of all I'm going to
[05:05:35] disable this one so that this one does
[05:05:37] not render again uh but to render more
[05:05:40] than one sequence you just need to add
[05:05:42] them so exterior
[05:05:44] near interior closeup interior normal
[05:05:48] and you just need to add
[05:05:51] the well um by default it already is
[05:05:54] using the settings from uh the one that
[05:05:57] we have already used so that's great uh
[05:06:01] don't really need to add anything more
[05:06:04] uh which is
[05:06:05] awesome um I'm just going to double
[05:06:08] check yeah that's good we don't have the
[05:06:11] 200% and I'm going to just hit the
[05:06:13] render local if you have problems or uh
[05:06:17] if it's
[05:06:18] to if your computer can't handle 4K then
[05:06:23] try 2K if it can't handle 2K then one of
[05:06:27] the versions of how you can still render
[05:06:30] it out is by using remote rendering
[05:06:32] which will open up a separate um program
[05:06:36] to render this out like it's going to
[05:06:39] open up a as a separate task and then
[05:06:41] you just close the Unreal Engine Editor
[05:06:44] to make sure that there's enough uh RAM
[05:06:48] for for you know for the actual
[05:06:51] rendering so render remote quite useful
[05:06:55] but in this case I'm just going to use
[05:06:57] render local I will not be pressing this
[05:07:00] button without stopping the recording so
[05:07:03] first stop the recording then I press
[05:07:05] the button once it's done we're going to
[05:07:07] look at it and talk about it
[05:07:10] we're done we're done here are all the
[05:07:14] frames so this took around an hour a
[05:07:18] little bit less 40 minutes to render out
[05:07:21] all of the four um
[05:07:23] animations and now we can get them
[05:07:25] finally
[05:07:27] into Da Vinci resolve I will be using Da
[05:07:30] Vinci resolve to uh combine them into a
[05:07:35] working video but if you have let's say
[05:07:38] Adobe Premiere or any other software
[05:07:42] that can combine them uh use that um the
[05:07:46] reason why I'm showing it with the Vinci
[05:07:47] resolve is because it's free it's a free
[05:07:50] software that you can download it's D
[05:07:54] Vinci like that Leonardo DaVinci
[05:07:58] Resolve okay so once you're in Da Vinci
[05:08:01] resolve go to the media tab right here
[05:08:04] in the bottom and navigate uh on the
[05:08:07] left hand side left top hand side navate
[05:08:09] to the folder where your images have
[05:08:11] been rendered out where the frames are
[05:08:15] and you will notice that these are
[05:08:18] regarded as separate files right as
[05:08:22] separate separate images that is a nogo
[05:08:26] we need them to be sequences we need
[05:08:28] them to be considered as sequences
[05:08:30] because now if I let's say select these
[05:08:32] and I add them here they are still you
[05:08:35] know separate images bad bad so so how
[05:08:39] do you do that in the VIN resolve well
[05:08:41] you click on these three little dots
[05:08:44] here and choose frame display mode
[05:08:48] sequence and now the Vinci will
[05:08:51] understand this as
[05:08:53] your
[05:08:55] um like as as proper animations right so
[05:09:00] now we can actually come in here drag
[05:09:03] and drop them
[05:09:05] in into your media pool go to cut
[05:09:10] it's actually uh one second I'm going to
[05:09:14] check one
[05:09:18] thing proxim media yeah that's fine okay
[05:09:22] so then we just take
[05:09:25] this add it to our uh timeline so I
[05:09:31] think we start with the
[05:09:36] facade is this crashing wait oh no is is
[05:09:39] this
[05:09:41] crashing no it's not I I just got got
[05:09:44] scared there for a second so we add this
[05:09:47] to our timeline we can check how it
[05:09:49] looks like seems great okay let's stop
[05:09:53] let's uh stop the
[05:09:56] render let's add more I don't remember
[05:09:59] how to zoom out I use uh Premier that's
[05:10:03] fine so okay we have the zoomed in
[05:10:06] version here perhaps we can and then
[05:10:14] do let's do a zoom in zoom out zoom in
[05:10:18] zoom out I think that's or maybe zoom in
[05:10:22] zoom out zoom out zoom in so this is our
[05:10:25] second frame right here
[05:10:40] mhm that's
[05:10:42] fine uh then we we get our interior
[05:10:47] shot right here and then let's add
[05:10:51] our uh final final shot right here
[05:10:55] okay don't remember what those do anyway
[05:10:59] uh we have now
[05:11:02] successfully
[05:11:03] added all of our images here then we can
[05:11:07] of course go to like uh
[05:11:09] add some color grading to them and so on
[05:11:12] and like cut paste edit them yada yada I
[05:11:17] would suggest that you first get the
[05:11:19] hang of the actual rendering before uh
[05:11:22] trying that out but uh the Vinci result
[05:11:25] definitely is a strong a a very strong
[05:11:29] uh piece of software uh to use and you
[05:11:32] can you can create a lot of
[05:11:36] um really good color graded it uh
[05:11:41] visuals with it right even professionals
[05:11:44] use it so in in terms of the let's say
[05:11:48] the curves and whatnot I can Ram them up
[05:11:51] a bit or or tone them down here uh
[05:11:55] that's the only thing that I tend to
[05:12:02] adjust maybe something like
[05:12:04] that uh perhaps this drops down a bit
[05:12:10] lifts a little bit there and then this
[05:12:14] one hard to say this one actually is
[05:12:18] pretty
[05:12:19] close just a little bit darker and then
[05:12:22] here you can uh play around with the
[05:12:24] saturation the gain and whatnot right so
[05:12:27] you can make it overly
[05:12:29] saturated don't don't though I think in
[05:12:33] terms of uh
[05:12:37] saturation um this one is quite nice
[05:12:40] this these pastel colors here are quite
[05:12:43] nice so I'm going to keep it the way it
[05:12:45] is this one might need a little bit a
[05:12:50] little bit of a boost so maybe
[05:12:53] 60 this
[05:12:56] one well it's it's all super subjective
[05:12:59] so making a tutorial on the color
[05:13:02] grading is definitely a bad
[05:13:07] idea what
[05:13:10] probably also do 60 here and so on right
[05:13:14] uh we don't want
[05:13:18] to spend too much time here so basically
[05:13:21] after you've color graded it and you
[05:13:23] like what you see and everything looks
[05:13:26] great then it's time to actually render
[05:13:30] it out which is that deliver button
[05:13:33] right here where you can write the name
[05:13:36] file name um
[05:13:40] building
[05:13:42] one
[05:13:44] location I'll just record it or export
[05:13:47] it into
[05:13:50] desktop
[05:13:52] rendering uh just do my rendering here
[05:13:55] save
[05:13:57] that doesn't want to save save that
[05:14:00] there we go uh then here for the format
[05:14:04] we tend to like the best case scenario
[05:14:08] is MP4 or
[05:14:10] h264 I think that that's the most stable
[05:14:13] one frame rate 24 frames per second as
[05:14:17] expected
[05:14:20] um I think I think that's
[05:14:24] that oh yeah and here I I forgot to
[05:14:27] mention that here you have already
[05:14:30] presets that you can that you can
[05:14:33] use right so in my case um I can use you
[05:14:39] YouTube um preset and I can say that it
[05:14:42] needs to be 4K resolution and it's going
[05:14:45] to give me all of the different settings
[05:14:47] that I need sorry I I forgot about the
[05:14:50] presets anyway now it's time to just uh
[05:14:54] add it to the render
[05:14:57] queue now it's here and then I can just
[05:15:02] once I'm ready I can send it to
[05:15:06] render now it's going to render
[05:15:10] so I am I lagging I'm not lagging okay
[05:15:13] that's good so once it's done um we will
[05:15:17] be able to take a look at it you already
[05:15:19] have seen it because I will be putting
[05:15:21] this at the start of the video um oh
[05:15:25] that was fast I'll be putting this at
[05:15:27] the start of the video but now we can
[05:15:29] actually take a gander together and see
[05:15:33] what could be improved uh what's what's
[05:15:35] good what's
[05:15:36] bad right so
[05:15:39] with uh 32 samples there's still a
[05:15:43] little bit of flickor in the very small
[05:15:46] areas let's go back a bit see the
[05:15:50] flicker there so there's a bit of
[05:15:52] flicker uh in the small areas and
[05:15:55] also it seems like the compression the
[05:15:59] color compression here is quite heavy
[05:16:03] let me take a look at the actual frames
[05:16:06] to see if uh it's the frame frames or if
[05:16:09] it's
[05:16:11] uh um or if it's D Vinci so which in
[05:16:15] this one uh zoom zoom
[05:16:17] zoom open
[05:16:19] up now it's going to be D Vinci because
[05:16:23] this is much cleaner this looks much
[05:16:25] better so we just need
[05:16:28] uh better quality right frame rate the
[05:16:32] format everything here is fine but it's
[05:16:34] being compressed too much uh so I would
[05:16:38] say
[05:16:41] go directly to
[05:16:44] YouTube why doesn't it give us more
[05:16:47] settings or yeah we probably need to use
[05:16:50] custom export then to get the settings
[05:16:53] in um so what I what I would do is
[05:16:57] probably just go for
[05:17:04] um I main um yeah there we go uh quality
[05:17:11] best or uh maybe even restrict it to a
[05:17:15] much higher value than this something
[05:17:17] closer to
[05:17:20] 24 uh th000 kilobytes so 24
[05:17:27] megabytes yep uh besides that you know
[05:17:31] you you can always go for a different
[05:17:34] type of a export here as well and just
[05:17:37] see if it's going to work or not sorry
[05:17:40] for for jumping around just uh I
[05:17:43] absolutely hate it when um the
[05:17:47] compression just eats up all of the nice
[05:17:50] things that that we
[05:17:56] had I will reender this actually because
[05:18:00] screw that we're not we're not using
[05:18:03] that that's way too bad um give me a
[05:18:08] second
[05:18:09] all right there we go now we have two
[05:18:12] files one is called building one the
[05:18:14] other one is called good the settings
[05:18:17] for the good file and you can see that
[05:18:20] it's by the way 10 times bigger the
[05:18:22] settings for the good file are as
[05:18:25] follows I use the custom export and here
[05:18:29] I only changed the quality setting to be
[05:18:32] best and uncoding profile to be high
[05:18:36] everything else is uh the same same as
[05:18:39] what we had before right so with those
[05:18:43] settings I get uh you know not so
[05:18:47] optimized video but at least the quality
[05:18:51] now is much much
[05:18:53] better
[05:18:56] right so there is yeah the the
[05:19:00] jitteriness is still very much present
[05:19:03] um you can
[05:19:05] see the grain gets kind of blown out and
[05:19:10] especially here let's go back a
[05:19:15] bit uh in this area the noise in the
[05:19:19] shadows is still very much
[05:19:22] present you can't completely get rid of
[05:19:25] it you can only kind of work on it to
[05:19:29] reduce the effect of the noise in the
[05:19:32] shadows uh the soft Shadows when using R
[05:19:35] traced um light but I think that for you
[05:19:41] know this whatever we spent I guess the
[05:19:43] recording is going to be around 4 hours
[05:19:45] or so for like a 4our recording this is
[05:19:49] decent this is this is good enough and
[05:19:51] definitely you can use this to show to
[05:19:54] the client you know the vibe of your of
[05:19:57] your building if uh I had to take a step
[05:20:02] back
[05:20:03] and redo some parts or enhance some
[05:20:07] parts of this project then I would
[05:20:10] definitely be spending more time on the
[05:20:13] small scale details and I would most
[05:20:16] likely be using
[05:20:18] 64 samples for um the temp 64 temporal
[05:20:25] samples I'll show you what I mean I
[05:20:28] still have unreal open let's go to
[05:20:32] [Music]
[05:20:36] window where is it cinematics there it
[05:20:39] is mov your render
[05:20:41] que
[05:20:44] pipeline temporal SLE count here I would
[05:20:48] probably use
[05:20:49] 64 uh just to get that crispiness going
[05:20:54] um maybe
[05:20:56] 48 besides that um I I think this is
[05:21:00] quite quite successful and uh yeah that
[05:21:05] concludes the complete beginner level
[05:21:09] tutorial now don't leave don't leave
[05:21:12] there's an extra there's a a small
[05:21:14] little extra here let me close the
[05:21:16] Venture resolve and let me show you how
[05:21:19] you
[05:21:20] can import
[05:21:22] stuff
[05:21:27] into let's do that how you can import
[05:21:30] stuff into and real engine from other uh
[05:21:35] projects and it not just stuff but
[05:21:38] import functionality from other projects
[05:21:41] so let's say I want this to become a
[05:21:43] three uh third person player game or
[05:21:46] first person right how do I do that well
[05:21:49] I can click on this add button here and
[05:21:52] I can choose add feature or content pack
[05:21:57] here and I can add first
[05:22:01] person uh content just click on add to
[05:22:06] project bam this this just gets added in
[05:22:10] just like that easy
[05:22:12] peasy right and now uh I can um change
[05:22:18] the game mode to be first person once I
[05:22:21] press the play button to do this we
[05:22:28] need uh I think we will need to restart
[05:22:31] but let's just check the project
[05:22:33] settings
[05:22:35] first um I think it's under modes yeah
[05:22:38] Maps modes game mode base
[05:22:46] um blueprint first person game mode will
[05:22:49] this just
[05:22:55] work let's try
[05:22:59] play yep seems like it's going to work
[05:23:02] but uh we're being spawned in a very
[05:23:05] awkward place and we just dropped
[05:23:07] through the round so I need to
[05:23:11] create um capsule or not a capsule but a
[05:23:15] player start note right here place it
[05:23:19] somewhere here something like that press
[05:23:23] play I just drop don't
[05:23:26] I think we might need to restart uh
[05:23:31] the a
[05:23:35] browser the
[05:23:37] editor let's let me try one one last
[05:23:44] thing um browse to
[05:23:47] asset right here and I just
[05:23:52] say these two assets or rather all of
[05:23:55] these assets let me try and
[05:23:59] add I right click on them I choose asset
[05:24:02] actions if this will work I will then
[05:24:05] explain it if it won't then I'll just
[05:24:07] say well it is what it is
[05:24:11] uh so asset actions I will type in
[05:24:15] cision and collision complexity I'll
[05:24:17] change this to simple Collision as or
[05:24:20] sorry complex Collision as
[05:24:24] simple uh file
[05:24:28] save
[05:24:31] play yeah there we go or
[05:24:36] standing or standing standing and we
[05:24:40] are now walking
[05:24:43] yay so now this is a first uh first
[05:24:48] person uh game right and with this I can
[05:24:53] we I didn't add Collision to anything
[05:24:56] else so we probably should do that um
[05:25:00] basically adding Collision is uh very
[05:25:02] simple all you need to do is just select
[05:25:05] the objects to which you want to add
[05:25:07] Collision so so in my case I will be
[05:25:10] choosing you know most of most of these
[05:25:13] objects maybe not the pillows right
[05:25:17] click on them uh in
[05:25:20] the how's it called content browser
[05:25:23] right click asset
[05:25:26] actions bulk edit via property Matrix it
[05:25:29] means that we're just editing all of
[05:25:31] their properties all at the same time
[05:25:33] this will take a little bit of time to
[05:25:35] load in because the we have so many
[05:25:37] objects
[05:25:39] finally it does so
[05:25:41] 1,677 right uh then I type in
[05:25:47] Collision change this uh Collision
[05:25:49] enabled or sorry change the Collision
[05:25:52] complexity to complex Collision as
[05:25:55] simple what this means is that it
[05:26:00] the Unreal Engine will use the geometry
[05:26:04] of these
[05:26:06] objects uh to calculate the
[05:26:10] Collision right then we
[05:26:12] save all of them will will be saved in
[05:26:16] and now once we enter uh the game game
[05:26:20] mode with the play button we will be
[05:26:22] able to run around and then kind of just
[05:26:28] explore uh just give it a second though
[05:26:39] there we go now it's now it's now we're
[05:26:42] quicking let's Press
[05:26:45] Play Take a look we're at the wrong side
[05:26:50] of
[05:26:55] things it's a little bit
[05:27:05] blurry go inside because
[05:27:08] glass is a thing that we can't also go
[05:27:11] through we can easily like investigate
[05:27:15] the little Greenery the foliage the
[05:27:19] trees you know take it all and enjoy
[05:27:24] it so that's how you can easily convert
[05:27:28] you know to VR to to whatever you want
[05:27:31] right which
[05:27:33] whichever um how do you call it
[05:27:36] functionality you want
[05:27:38] I will be doing more tutorials on you
[05:27:41] know architectural visualization and not
[05:27:44] just because I feel like un real engine
[05:27:46] has much more like potential um as as a
[05:27:51] software uh but I will be doing much
[05:27:53] more tutorials with it paired with Rhino
[05:27:56] with Grasshopper so make sure that you
[05:27:59] you know subscribe and follow along and
[05:28:01] again if you want this file this
[05:28:04] beautiful beautiful file that I've been
[05:28:06] working on Con consider becoming a
[05:28:08] patreon
[05:28:10] supporter cuz those guys got these files
[05:28:12] for free well not really because they're
[05:28:16] supporting the channel right but yeah
[05:28:19] either way I should stop talking thank
[05:28:20] you thank you thank you for sticking
[05:28:22] around until the very end I'll see you
[05:28:26] around bye byebye